Though the 2017 list is nothing close to the record number of Midwestern artists in Michelle Grabner’s 2014 Whitney Biennial, nonetheless America’s longest-running survey of contemporary art is still stretching its neck outside of the five boroughs. Co-curators Christopher Y. Lew and Mia Locks have selected seven Midwest-based artists to join their roster of sixty-three in next year’s exhibition. The country’s recent inward turn has focused increasingly on Chicago, St. Louis, Detroit and Milwaukee as bellwethers of the “silent masses” as well as the objects of much-needed reflection, as these cities continue to vie for the top spots in national segregation rankings. And while this year’s Midwestern representation still fails to measure up to the roughly twenty percent share that we make of the country’s total population, it seems that it is becoming harder for coastal curators to ignore our relevance. Harold Mendez While other artists are content to label their work “mixed media installation” and call it a day, Harold Mendez wants us to know that crushed cochineal insects and staples each play an integral role in his latest sculpture. In fact, the wall text for most of his works read like minimalist poems, like that of his 2011 installation “Burial Party & Panic dwindled” which includes “Mixed-media, found objects, children’s mattress, foam, hand-printed Ghanaian funeral cloth, marking chalk, popcorn.” In this politically driven Whitney show, we are eager to see how his work’s Arte Povera roots connect to the show’s focus on social politics. Click the link above for the full article.
A Whitney Biennial on Fifth Avenue? Tiffany & Co. to Host Provocative Artist Collaborations in Its Fabled Windows
Biennial curators Christopher Lew and Mia Locks picked the five artists, who will show mere feet from Trump Tower. Forget about “Breakfast at Tiffany’s”—this spring, the throngs of tourists visiting Fifth Avenue’s most fabled jeweler will be treated to a Biennial at Tiffany’s. As part of its far-reaching new sponsorship of the Whitney Biennial, Tiffany & Co. has revealed that, beginning on March 9, it will be giving over its highly visible window displays to site-specific installations by five rising stars from the exhibition: Ajay Kurian, Carrie Moyer, Shara Hughes, Harold Mendez, and Raúl de Nieves. The installations will be constructed around exclusive editions that the artists have produced with the jeweler. The truly unusual thing about the collaboration? Tiffany gave full control of the partnership to biennial curators Christopher Lew and Mia Locks, giving the organizers free reign to select whichever artist they wanted—and then providing those artists with generous funding, access to a treasure trove of Tiffany materials, the help of its artisans, and no limitations on their projects. Set in motion by former Tiffany CEO and Whitney Museum trustee Frederic Cumenal, the enterprise will unleash some distinctly unorthodox artworks at the jewelry-seller’s flagship store—a mere half block away from Trump Tower, the de facto Manhattan White House of President Donald Trump. Perhaps the most head-turning installation will be courtesy of Kurian, a young Indian-American artist represented by 47 Canal. Recreating one of the most surrealistically horrifying scenes from the film American Psycho, when the title character drops a spinning chainsaw down a stairwell to murderous effect, Kurian worked with Tiffany specialists to build a trompe-l’oeil diorama of the stairwell that recedes into the window and embellished it with spinning sterling-silver business-card cases, his artwork for the project. Produced in a limited edition of 10, these cases are etched with a Magic Eye-esque stereogram that transforms a seemingly abstract acid-etched design into the word “psycho” when the viewers stares long enough—a reference to the film’s fetishization of business cards as a “secret handshake” among New York’s ‘80s-era Masters of the Universe. As for the other artists, Harold Mendez worked alongside Tiffany silversmiths in the company’s Rhode Island hollowware shop to sculpt a sterling-silver pre-Colombian death mask (a reference to his cultural ancestry); Carrie Moyer designed a sterling-silver pendant inspired by her abstract collages; Raul de Nieves worked with master engravers to adorn a silver box with an image of two figures presenting a child to the world, a recurring motif in his work; and Shara Hughes hand-painted a series of bone china pitchers with brightly hued fantastical landscapes. The editions will retail at both Tiffany and the Whitney, and range up to $8,500 apiece. “For each of the artists, it is as if their studio has expanded exponentially through the collaboration,” Lew and Locks said in a joint statement. “The range of bold and daring objects that they have created together is a testament to Tiffany’s longstanding commitment to art.” Mendez, for his part, hailed his work alongside Tiffany’s hollowware craftsmen as among his most successful artistic achievements to date. Although Tiffany has a storied art pedigree—evidenced by previous collaborations with Warhol and Rauschenberg, and its hugely popular Paloma Picasso line—the partnership is also certainly among the company’s most avant-garde undertakings in its nearly two-century history. However, the collaboration is of a piece with other edgy, high-profile moves Tiffany has made lately. The jeweler sponsored Lady Gaga’s conversation-starting performance at the Super Bowl last month, and has begun including same-sex couples in its engagement-themed advertising campaigns. (Tiffany’s recent “Legendary Style” advertising campaigns were overseen by Grace Coddington, former creative director of Vogue.) One can expect Tiffany to proceed further in this contemporary-art-friendly direction: the company has hired former Coach impresario Reed Krakoff as its new chief artistic officer, installing a dedicated art patron and collector in the influential post.
Gift shops and the merchandise inside them are a core part of most museums — try naming an art institution that doesn’t take part. Sales not only shore up the bottom line but also help visitors bond with an institution, making them more likely to come back. Such operations are evolving. The Whitney Museum of American Art is now introducing a tie-in with its signature show, the Whitney Biennial, which tries to take the pulse of contemporary art. Five biennial artists are collaborating with Tiffany & Company — which is sponsoring this and the next two biennials with a gift of $5 million — on a series of limited-edition works. Priced from $2,500 to $10,000, they will be for sale in the Whitney store and at Tiffany’s flagship store in Midtown Manhattan in tandem with the biennial, which runs from March 17 through June 11. The venture — blending philanthropy, art and commerce — is new territory for the Whitney, which has never had such an extensive collaboration with an outside partner. The painter Carrie Moyer, who has several colorful works in the biennial, designed a sterling silver pendant called “Daisy” that is based on her collage work. Shara Hughes created a bone-china pitcher hand-painted in a loose manner to resemble her canvases in the show. Each is in an edition of 10. Harold Mendez, known for his mixed-media installations, created a piece that’s a far cry from the classic engagement ring in a blue box: a colorfully iridescent silver vessel in the shape of a death mask. The piece, in an edition of five, looks like a slightly melted face. If it’s hard to imagine Audrey Hepburn sidling up to the Tiffany window to check out a death mask, that’s the point. For Tiffany, which has built itself into a powerful luxury brand with broad appeal, the collaboration has been part of an attempt to re-emphasize its artistic roots: Charles Lewis Tiffany, the business’s founder, was a founding trustee of the Metropolitan Museum of Art, and the company later enlisted such artists as Andy Warhol and Robert Rauschenberg in collaborations. Beyond its significant donation, Tiffany felt like a good partner for the Whitney in trying something different that would highlight the content of the museum’s signature show. “The ethos of this comes from how the Whitney always engages with artists,” said Christopher Y. Lew, a co-curator of the biennial with Mia Locks. “We follow what artists are doing. The objects they have created are ones they wanted to produce.” Perhaps appropriately, given that it’s one of Tiffany’s signature materials, silver was the choice for four of the five projects, including Raúl de Nieves’s “In the Beginning,” a sterling silver box. “They are sensitive and simpatico to the spirit of the institution,” Adam D. Weinberg, the Whitney’s director, said of Tiffany. “We’ve had a lot of contact with them. If we say, this doesn’t feel so good, ‘They say, ‘O.K., we’ll find something else.’” Noting that the biennial has sometimes proved controversial, Mr. Weinberg also applauded Tiffany for taking a chance. “You never know what the biennial will look like until it opens, so it’s very brave of them,” he said. For 180 years, “Tiffany has been at the forefront of collaboration with artists,” said Frédéric Cumenal, who recently stepped down as the company’s chief executive. Mr. Cumenal, who helped initiate the project, was on the Whitney’s board from 2015 until this year. He added that Tiffany had always pioneered “new technology, new materials, new skills.” Charles Lewis Tiffany founded the company as a stationer in 1837; later his son, the celebrated artist Louis Comfort Tiffany, was its artistic director, although he is better known for his own prodigious glassmaking, examples of which are on view around the country. Today Tiffany is a publicly traded company. Mr. Weinberg stressed that the art objects made in partnership with Tiffany were at a remove from what was being exhibited. Whereas some museums have merchandising spaces just off their galleries, where they sell posters and other items based on the art visitors have just seen, the Whitney maintains only one store, in its lobby. “We’re not setting up a Tiffany shop in the galleries,” he said. According to the biennial curators, who suggested the artists for the Tiffany collaboration, twists and turns were part of the process. “The surprise is what the objects have turned into,” Mr. Lew said. The artist Ajay Kurian has a complicated installation in the biennial, “Childermass,” which includes a fog machine and fur, among other elements. For the Tiffany project, he did “Modern Secrets,” a sterling silver card case in an edition of 10. Its title seems to inject a layer of artistic ambiguity. But no one has tested the boundaries of the project as much as Mr. Mendez, whose silver vessel riffs on a Colombian death mask he knew from a museum in Medellín. “I was skeptical in the beginning,” Mr. Mendez, who is based in Los Angeles, said of the process. “I thought, ‘Tiffany, maybe they’re trying to rebrand. But the more I found out about it, the more encouraged I was. I got excited after a conference call, and they described what the possibilities were.” In particular, Mr. Mendez relished his trips to the Tiffany holloware workshop in Cumberland, R.I., where a series of silver-polishing wheels that were colorfully caked with bits of silver and chemicals set his mind racing. When he discovered a picture of an iridescent tea caddy from an old Tiffany catalog, it fired his imagination further. Mr. Mendez engaged in several months of back-and-forth with the Tiffany artisans on how to get the exact effects he wanted. “Initially, there were bumps, in that I had to translate my idea,” he said. “But it opened a new avenue to experiment with material. They let me follow through on my idea, even when I got to a dead end.” The resulting vessel — with a built-in mystery typical of his work — is not a vase, he said. It’s meant to hold water, but Mr. Mendez doesn’t intend it to hold flowers. “You have to put water inside to finish the work,” he said. “In the gesture of pouring, it can take shape.” Mr. Mendez added that he felt he was able to preserve his artistic independence throughout the project. “They allowed me to have my creative voice,” he said. “The object is really aligned with all my other work. I don’t think of it as something in a store.”
Click the link above to read the full list. Though it may seem that Armory Week and Frieze Week get all the action, the reality is that there is never a dull moment in the New York art world. From the East Side to the West Side, there’s always something happening at the city’s museums, galleries, and various event spaces. Plus, the wider international art scene also keeps us plenty busy, with international events like the opening of Russia’s inaugural Garage Triennial in Moscow. Here’s a rundown of this week’s highlights. Tiffany x Whitney Artist Collaboration Cocktails at the Tiffany Store Tiffany & Co. unveiled the fruits of its collaboration with the Whitney Biennial—it’s the exhibition’s lead sponsor for 2017—at a party on March 9. From the biennial’s participating artists, exhibition curators Christopher Y. Lew and Mia Locks invited Harold Mendez, Ajay Kurian, Raúl de Nieves, Carrie Moyer, and Shara Hughes to create new limited-edition art objects in collaboration with Tiffany artisans and master craftsmen. The spectacular results are now on display in the storefront windows. Tiffany chief artistic officer Reed Krakoff and Whitney director Adam D. Weinberg welcomed the participating artists as well as guests including Indré Rockefeller, Sarah Arison, Isolde Brielmaier, Casey Fremont, and Marlies Verhoeven to a cocktail and canapé reception at the company’s 5th Avenue flagship store. “As soon as they asked me, I said absolutely,” Mendez told artnet News. For his contribution, he adapted one of his copper pieces to silver, a material he had never used before. “What ended up inspiring me was what the silversmiths were able to do,” he added. “They know the properties of silver, and I don’t, so it was a really great way of working collaboratively.”
Late in 2015, the curators Chris Lew and Mia Locks embarked on what seemed like an almost endless road trip, combing the country (and a few cities abroad) in search of the artists who best represent America right now for the 2017 Whitney Biennial. They finally narrowed that list down to just 63 after meeting with hundreds last year; and now down to just five for a preview of sorts in the windows of Tiffany & Co., the biennial’s sponsor, unveiled today at its flagship on Fifth Avenue. As it turns out, of course, that also happens to be just steps away from Trump Tower, a fact that’s taken on a whole new significance since the biennial’s planning stages—and one that Ajay Kurian, an Indian-American artist who was among those selected for the displays, was not going to let go uncommented upon. “I was ambivalent about the enterprise and the clientele—who shops at Tiffany’s, and what’s going on in the world right now,” Kurian said of his initial response when Lew and Locks approached him. “I just couldn’t get it out of my head.” So, when it came time for he and the other artists chosen—Carrie Moyer, Shara Hughes, Harold Mendez, and Raúl de Nieves—to start with selecting sterling silver Tiffany’s pieces to incorporate into their displays, Kurian took things into his own hands: he asked the company to help him engrave the word “psycho” into the business card cases he’d selected, a reference to the cold-blooded corporate showmanship in American Psycho, the 2000 film with its infamous scene of one-upmanship—using business cards, of course—in a Wall Street conference room. “I told my family and my partner my pitch, and they all just told me I should have a plan B, because [Tiffany & Co.] weren’t going to go for it,” Kurian recalled. To his surprise, though, the company actually did, if partly because the word isn’t readily visible—it takes a few seconds to spot, thanks to an intricately engraved pattern Kurian designed with the help of a website where you can make your own Magic Eye. After all, at this point, the company, who promised free creative reign to Lew and Locks for the project, and is sponsoring not only this year’s, but the next few biennials through 2021, should know what it signed up for—or at least the intentions of the biennial's youngest-ever curators, who were looking not to create extra work for the artists for the sake of a watered-down corporate sponsorship, but to instead give them a chance to expand their biennial contributions and typical artistic practice, “as if their studio has expanded exponentially to the collaboration.” Kurian’s contribution, for example, is an extension of sorts of his installation in the Renzo Piano-designed stairwell of the Whitney Museum, which he recreated in his display and topped off with business cards drifting around on clear glass wheels as if floating to the bottom, where a silver chainsaw is another reference to one of the film’s notorious scenes. Mendez, on the other hand, sculpted a pre-Colombian death mask in collaboration with Tiffany’s hollowware Rhode Island outpost; Moyer embellished her usual collage work with a sterling silver pendant; Hughes worked with bone china to create a series of painted pitchers; and de Nieves worked with the company’s engravers to adapt the three figures that make up one of his recurring motifs. All will be for sale in limited editions, not that Kurian need exactly worry—the money's all going directly to the museum, rather than in business-card-case-carrying pockets.
The Whitney Biennial, hands down the biggest event in the American art world, is now open for business. For its 2017 edition, the show’s host museum has for the first time attracted an unprecedented partner: Tiffany & Co. Not only is the 180-year-old jewelry and design house the main sponsor of the ambitious show, but the luxury brand has commissioned five biennial artists to create limited edition artworks for its Fifth Avenue flagship, as well as eye-catching displays for its world famous storefront windows. “They were incredibly great with the artists,” Biennial co-curator Mia Locks said of the museum’s partnership with Tiffany at the exhibition’s opening reception. “The artists all came back to us and said ‘Thank you for letting me be a part of this. They’ve really supported any kind of ideas I wanted to have, anything we wanted to do for the windows.'” Among Tiffany’s chosen collaborators is Ajay Kurian, whose Biennial installation Childermass is suspended between floors in the museum’s main stairwell with an assortment dangling half-child, half-human figures. With Tiffany, Kurian created an edition of ten sterling silver business cards delicately etched with a design that hides the word “pyscho” within its pattern, which he’s arranged in the store’s window display to appear as if they’re falling through the Whitney’s spiraling staircase—both a nod to his installation and to the 2001 film American Pyscho which features a similar staircase in one of its climatic scenes. Harold Mendez also worked with Tiffany’s silver artisans to create five sculptural vessels inspired by pre-Colombian death masks. When filled with water, the rainbow hues of the macabre objects’ metallic surfaces and the crude facial features etched that into the base of each bowl glitter and come to life. For his window display, Mendez entombed one of the vessels in a case lined with worn, velvety polishing cloths. Themes of death and ritual are also present in the artist’s Biennial presentation American Pictures, which features crushed and dead insects and an arrangement of scattered flower petals. advertisement Painter Carrie Moyer, whose glittering geometric canvases can been seen on the museum’s fifth floor, incorporated similar shapes and patterns into the wearable silver pendants she created with Tiffany. The pendant hangs front and center in the store’s window, against an otherworldly, neon-colored backdrop which mirrors layers of cut-paper collage—a process Moyer uses to create her paintings. Arguably one of the most striking visuals in the Biennial are the site-specific “stained-glass” window coverings Raúl de Nieves has created for the museum’s floor-to-ceiling windows on the fifth floor. But while the work bounces rays of colored-light across the museum’s galleries in the same manner as colored glass, the work was created from nothing more cut and taped pieces of acetate. Iconographic imagery also features in the silver boxes he’s created for Tiffany, which are etched with a haloed figure holding an infant child, also cut into layers of icy glass for his window display. The only artist who chose not to work with Tiffany’s signature silver is artist Shara Hughes, who is known for her dreamlike landscape paintings. Hughes has transferred the flowing quality of her brushstrokes onto hand-painted china pitchers, which are displayed amid a whimsical and surreal seascape on Fifth Avenue. The Biennial commissions and windows displays are far from Tiffany’s first partnership with fine artists. In the late 1950s, Tiffany window designer Gene Moore recruited painters Robert Rauschenberg and Jasper Johns to create dramatic displays for the house’s fine jewelry. Objects and editions created for Tiffany by each of the 2017 Whitney Biennial’s collaborating artists will be sold at the house’s Fifth Avenue store.