LA Saturday, May 11, 6-9pm
You’re invited. In fact, you’re the whole point.
On Saturday, May 11th from 6 – 9 pm we will turn the LA Center for Digital Art gallery into a vision board which visually represents the futures we desire. There will be glitter and glue guns, dreams and decorations. Nothing is too cheesy. Nothing is too sincere. Together we will celebrate AS IF my paintings are actually in the Whitney Biennial. There will be art, painting, and digital, there will be drinks and toasts.
What does this have to do with art?
When you Google “Whitney Biennial 2019” and select “Images” you will find that it looks like I am in this prestigious NYC art event. I created this search engine manipulation by making a website about how I really really really want to be in the Whitney Biennial. Google, I knew, could not handle the nuance between an accomplished reality and desire. Painting, digital art, performance art, life, art. The lines are intentionally fuzzy.
Saturday, May 11 6-9pm
We will act AS IF we are already living this future we desire, including a future in which I am in the Whitney Biennial. I would like you there to celebrate. Because in all sincerity, why would I want to be in the actual Whitney Biennial? So that I could share my work with you and we could celebrate. Let’s do that together Saturday, May 11, 6-9pm.
What if I am not in LA on May 11th?
The exhibition runs May 9 – June 1st.
You are also invited to send letters and images describing the future you want to:
The Future Gretchen Andrew
c/o LA Center for Digital Art
104 E 4th St
Los Angeles, CA 90013, USA
What is a vision board?
A vision board, dream board, or mood board is used to build a collage of words and pictures that represent your goals and dreams.
What is the Whitney Biennial?
“The Whitney Biennial is an unmissable event for anyone interested in finding out what’s happening in art today. Curators Jane Panetta and Rujeko Hockley have been visiting artists over the past year in search of the most important and relevant work. Featuring seventy-five artists working in painting, sculpture, installation, film and video, photography, performance, and sound, the 2019 Biennial takes the pulse of the contemporary artistic moment. Introduced by the Museum’s founder Gertrude Vanderbilt Whitney in 1932, the Biennial is the longest-running exhibition in the country to chart the latest developments in American art.”
What will be expected of me on Saturday?
Don’t worry if you just want you can come and observe or drink quietly in the corner by yourself. But there will be the opportunity to contribute to the vision board while generally acting AS IF we all have everything we’ve ever wanted. RSVP on facebook
PS – Just more information below
Whitney Biennial 2019…Vision Board
Gretchen Andrew, LACDALACDA
104 E 4th St, Los Angeles, CA 90013, USA
May 9 – June 1, 2019
Artwalk preview Thursday May 9, 7-9pm
Opening reception Satruday May 11, 6-9pm
In Whitney Biennial 2019…Vision Board search engine artist Gretchen Andrew presents her internet manipulation of the prestigious New York exhibition as a participatory installation.
If you were to Google “Whitney Biennial 2019” and select “Images” it would appear as if Gretchen were included in this year’s Whitney Biennial. In fact, she has only created an aspirational “vision board” website where she expresses her desire to be included. Upon closer inspection of the images Google returns, viewers can see the obvious imperfections, uneven edges, and decorative elements that mark it as a vision board such as words of encouragement and motivational stickers.
As is traditional in vision boards, Gretchen’s meticulously explores the feelings and motivations behind this desire. However, unlike with traditional vision boards, the artist uses her process of Internet Imperialism to program her ideal future into being, convincing the internet to display her hopes as an already accomplished reality. The internet can be seen as a global subconscious and, much like our own subconscious, it cannot tell the difference between a hoped-for future intensely imagined during meditation or hypnosis and what has, in fact, already occurred. Thus the websites Gretchen has created about how she wants to be in the Whitney Biennial 2019, confuses google into accepting it as if she is already in the Whitney Biennial 2019.
At Whitney Biennial 2019…Vision Board visitors to the LA Center for Digital Art will be invited to adhere words of encouragement and motivational stickers around Gretchen’s painting to transform the gallery’s white walls into a large vision board, collectively imaging and celebrating a hoped-for future. At the opening, we will dive into the over-the-top yet totally nonironic positive vibes of desire. Except to party as if you and your best friend just achieved a long-sought goal. Toasts given.
Earlier this year, Andrew’s “Frieze Los Angeles” search engine art series dominated search results in timing with the debut of the Frieze Los Angeles art fair. Both this project and “Whitney Biennial 2019” are part of a larger project titled It’s My Future…and I Want You There. This body of work includes paintings about places, feelings, and people that she wants in her future, presented alongside manipulated search results that make it appear as if this future has already happened. This work continues her ongoing examinations into the shortcoming and bias of the internet with her work targeting the unrealized potential inherent within internet and search technology along with the connection between dreams and the ethos of computing.
About the artist:
Gretchen Andrew (born in California, 1988) is a Search Engine Artist and Internet Imperialist who programs her paintings to manipulate & dominate search results. She has completed projects or exhibitions with The V&A Museum, The Photographer’s Gallery, The British Film Institute, Cambridge University, The Swiss Re Center for Global Dialogue, Arebyte, A4 Arts Foundation, The British Arts Council, The White Building, Ace Hotel, The London Film School, The Wikipedia Foundation, The Mozilla Foundation, and Whitcher Projects. She trained in London with Billy Childish.
THIS WEBSITE IS A NET VISION BOARD
ITS PURPOSE IS TO HELP ME & THE UNIVERSE & THE INTERNET CLEARLY SEE THE POSSIBILITY OF BEING IN THE WHITNEY BIENNIAL
AND FACILITIES THIS FUTURE INTO BEING
ON THIS SITE I CO-CREATE THE FUTURE WITH THE UNIVERSE
What is a Whitney Biennial vision board?
A Whitney Biennial Vision board is a tool used to help clarify, concentrate and maintain focus on the specific goal of being in the Whitney Biennial 2019. Literally, a Whitvision board is any sort of space on which you display images that represent whatever you want to be, do or have in your life.
The Whitney Biennial 2019 Vision Board
All images for this search engine art piece are taken from my Whitney Biennial Vision Board.
IT’S MY FUTURE… I WANT YOU THERE
“Whitney Biennial 2019” is part of Gretchen’s new body of work, IT’S MY FUTURE… I WANT YOU THERE. Paintings of and about places, feelings, people the artist wants in her future presented alongside manipulated search results that make it appear as if this future has already happened. Like, hacked visualization manipulation manifestations.
Whitney Biennial 2019
Step 1: Get clear on what you want…to be in the Whitney Biennial 2019
Step 2: Ask the universe…to put me in the Whitney Biennial 2019
Step 3: Work toward your goals
Step 4: Trust the process…of being put in the Whitney Biennial 2019
Step 5: Receive and acknowledge what you get…closer
Step 6: Keep Your Vibration High. I Feel joy and gratitude that the universe/internet has put me in the Whitney Biennial 2019
Step 7: Clear your resistance.
Be clear about what you want. “I want to be in the Whitney Biennial 2019”
Why do you want it? “I want to be in the Whitney Biennial 2010 so that I will belong in the top Amerian artists making work today.”
How does it feel to have it? “I love being in the Whitney Biennial 2019. I love seeing my work in this amazing institution and as part of such a big event and career milestone. My painting looks great on the wall and I love walking up to the Whitney Museum in spring-time New York and seeing it there. I love bringing family and friends to see. I feel successful and like I belong. I know that I can continue to make the art that I want to make and that it will lead to success and appreciation as well as the life that I want.
Make it believable that I am in the Whitney Biennial 2019. The more you believe it’s possible, the faster you’ll see results.
Be grateful. I am grateful to be in the Whitney Biennial 2019. Express gratitude in your script for what you want to attract as if you already have it. I have attracted this Whitney Biennial 2019 opportunity into my life. Thank you universe/internet! It can be as simple as “Thank you, thank you, thank you.”
Yes getting in the Whitney biennial 2019 will also be a little scary. But this is a fear that I am ready to deal with. I am thankful that I am ready to take the next step and feel confident in my extended career. I have many times gotten over rejection and fear of inadequacy and I am happy and free when I am pursuing what I want and that is what I am going to do.
A success will lead to new successes and I am on a roll. I am thankful to have left behind fear and need. I make my own success and people can’t wait to be part of it.
Whitney Biennial 2019 could be a computer program of art and web imperialism project. computer program creative person and Internet Imperialist Gretchen Andrew has painted all the pictures of this project. The Whitney Biennial is regarding a crucial event for anyone fascinated by synonyms of art and style nowadays.
Over the past year, the curators of the repository of Whitney Biennial are visiting artists and different peoples within the country. In search of excellence the foremost vital, exciting, and relevant document of artwork. Taking the heartbeat of the earth, yank culture values and creativeness, the Whitney Biennial 2019 is that the Museum’s check up on the state of up to date art within U. S.
With a venerable history of exhibiting the foremost stimulating artists—and usually agitating debate—the Biennial, introduced by the Museum’s founder Gertrude altruist Whitney in 1932, is that the longest-running continuous exhibition within the country to chart the newest developments in yank art.
The Whitney Biennial 2019 is given by Louis Comfort Tiffany & Co, lead sponsor of the Biennial through 2021. The Whitney’s signature survey of the present state of up to date art within the USA. this can be the 79th within the Museum’s series of Annual and Biennial exhibitions, inaugurated in 1932 by Gertrude altruist Whitney.
Like the winter garden, contemporary art is promptly a refuge and some extremely artificial surroundings, Associate in Nursing elaborate show of greenhouse flowers that couldn’t exist outside. Modern art rather than meaningfully acknowledge responsibility, or grasp the crisis as a chance to initiate a badly required speech communication, they need acted as if it were a threat to be countered or a PR disaster to be contained.
Pushing on the far side what’s comfy, presenting various approaches to art-making, and understanding that art will ne’er be cut from the planet at massive became the hallmarks of the Biennial. I thirstily anticipate the show of Whitney Biennial 2019 that these 2 gifted curators can organize in response to the dramatically shifting cultural, social, and political landscape of this.
Weinberg, the Whitney’s Alice Pratt Brown Director, noted: “The Whitney Biennial could be a tradition that goes back to the institution’s historical roots whereas providing North American nation with a measuring device of the modern art. we tend to square measure excited regarding the Whitney repository work rising out of Whitney Biennial 2019 advanced moment and square measure honored to continue the Biennial’s long tradition of participating with the foremost compelling artists, issues, and queries of our time.
I’m delighted to check a lot of Whitney curators place their mark on our signature exhibition. In asserting the choice of the curators, Scott Rothkopf, the Whitney’s Deputy Director for Programs and urban center and Steve Crown Family Chief keeper, said: “Jane and Ru square measure 2 of the foremost compelling and engaged steward voices of our moment, with broad and sensitive instincts for creative and cultural connection.
They’re each overzealous champions of rising artists, whereas a lot of criticism comes have shown keen insights regarding creating history feel alive within the gift. Adam D. Hockley and Panetta commented, “We square measure excited to be collaborating on the forthcoming Biennial, notably at such a historic juncture in our country and in our world.
The Whitney repository of yank Art proclaimed that the Whitney Biennial 2019 is co-curated by Jane Panetta and Rujeko Hockley, members of the Museum’s steward employees. The Biennial goes on reading it might 2019.
Whitney punch something similar is true of the works on read, that are seldom conventional however even as seldom challenge, puzzle, or beguile viewers. While it’s price seeing Open Casket in person—partly to envision for oneself however totally flaky and mistaken the painting is, part as a result of all told chance it’ll ne’er be exhibited again—visitors to the Biennial would do best to urge it out of the means initial, then pay the bulk of their time with those works that almost all reward targeted engagement.
Whitney museum new York is one; her life-size ester casts of abandoned article of furniture speak obliquely to the continued yankee housing crisis, nevertheless attain a form of strange autonomy by virtue of their compelling, lurid color gradients. Even though Trump and Trumpism ar nearly physically palpable, the artists additionally manage to evoke the means that migrant histories are written and overwritten, whereas suggesting that border politics are predicated upon a form of collective paranoid dissociation.
So why then has one painting diode to such widespread controversy? It can be that, sweet-faced with formidably advanced problems at a flash of high vulnerability, individuals have turned to reassuringly acquainted narratives.
Moma new York works within the show would have looked out of place in a very big apple gallery; the sole question is what style of collector they’d best attractiveness to. It is estranging on the amount of one’s most simple bodily perception—some viewers become nauseated—yet whereas the additive result is grueling the piece isn’t with regards to white guilt.
Whitney museum of American art irony of the Schutz affair is that alternative artists within the show have created rather more thoughtful responses to the queries she therefore badly bungled, however have did not get the eye they be. Yet one wonders whether or not a part of the matter is that Open Casket stands proud painfully in Associate in Nursing exhibition whose most pronounced attribute appears to be its aversion to unpredictability.
An axiom text by Whitney museum of the creator informs U.S.A. that over time the bologna can “weep”; this crying bosh isn’t solely a uproariously repellent description of the work’s abject liberality, however additionally a inculpate indictment: race and racism are pure bullshit, however therefore ar pious denunciations of those issues that don’t reckon with their intractable.
Whitney Biennial with very little to envision except a collection of workaday loudspeakers, viewers’ attention is drawn to recordings of anonymous voices with replaceable accents reading a form of concrete literary work assembled by the creator from terms employed in the slaughterhouses that accustomed populate Manhattan’s packaging District.
At identical time he displays pitch-perfect irony, satirizing the self-seriousness of a lot of Institutional Critique whereas exploring the absurdity of creating art from non-disclosure agreements.
Combining long Whitney Biennial Tiffany takes of the landscape, wry vignettes of youngsters enjoying, and redolent superimposition of ocean and sky, the video recollects James Benning or film producer while not ever apparent derivative arty; it takes its subject with complete seriousness and nevertheless ne’er indulges in self-mythologize or humanitarian pathos. Deplorably, though additionally after all predictably, it goes while not language that almost all of them arn’t white; nor are they depicted by valuable galleries.
Claim (Whitney Version), the contribution of the creator currently apparently referred to as “Pope.
In a show wherever several items try to create an enormous impact, whether or not to contend for eyeballs or to fill the Whitney’s huge, pricey new galleries, a number of the foremost powerfully generative art is that the most modest-looking.
How to apply for Whitney Biennial 2019?
Like the winter garden, art can’t be free from a history of domination, that each subtends and continues into this.
Harold Mendez additionally works with detritus, combining unidentifiable scraps of iron with a jarring array of alternative objects—carnations, crushed insects, staples—to type poised, starkly poetic assemblages.
In John Divola’s series Abandoned Paintings, discarded paintings by art students ar displayed in abandoned buildings, then photographed. The New York-based initiative of Whitney Biennial 2019 will occupy Museums addresses a special quite quasi-colonial politics by devoting Associate in Nursing installment of their in progress Debtfair project to yankee artists from Puerto law, WHO arlawfully U.
Although programs ar usually marketed as win-win things within which socially accountable investors “do well by doing smart,” the piece clearly shows however such framing obscures their perform as agents of neoliberalization.
Some of these ar brutal (“wrecking bar,” “choke-strap”), others ominous (“spirit level”), still others archaic or obscure (“two-square,” “quick prod”).
Mother tongue of Whitney at the start appears to be either Biennial 2019 associate in Nursing instance or a parody of an exact quitebiennial art: the piece consists of many dozen trees of various species, that ar taken care of by a rotating solid of attendants WHO inform viewers concerning their special properties (intriguingly, these embrace Manthia Diawara and Gayatri Chakravorty Spivak).
The autochthonous Southwestern collective Postcommodity, WHO have created unforgettable site-specific installations at and round the U. Just as the edge between past and gift becomes leaky, therefore will the boundary separating the work from the city; ingeniously, the piece makes sound bleed and pollution into essential elements of its “medium”. Hopinka’s video Visions of Associate in Nursing Island could be a quietly devastating depiction of an overseas Alaskan island with the world’s largest Aleut population.
Whitney Biennial 2019 of William Pope. Asad Raza’s Root sequence. Very few items depart on a limb, and also the ones that take the best risks—or a minimum of the foremost obvious ones—are usually the worst within the show. Thanks to Wolfson and his several unhealthy Boy Art Star forefathers, the factors for “transgression” art are pushed well past the purpose wherever they may be price transgressing.
Jane Panetta of Whitney Biennial 2019 is a massive gallery-within-the-gallery festooned with some two,755 slices of bologna, every of that bears a degraded photocopy that purportedly depicts a soul resident of recent York. Unlike 1993, they appear to feel, it currently isn’t necessary to settle on sides; one will love painting and sweetness and dismiss art that’s too “difficult” or “political” or “theoretical” or “issue-oriented,” all the whereasmaintaining a transparent conscience.
Public statements are embarrassingly slow in coming back, Associate in Nursingd couched in an evasive, generalizing, and faintly condescending rhetoric of excellent intentions. In Associate in Nursing imposing floor-to ceiling show wherever a part of artists is smartly curated or “bundled” in line with their creditors, the cluster not solely reveals the extent to that modern art and art education became a revenue stream for firms like BlackRock (whose business executive Larry betrayer, a MoMA trustee, is Associate in Nursing economic authority to Trump).
It additionally shows however the Whitney biennial 2019 artist announced condition of liability permeates the lives of younger artists, at the side of no matter work they create. The obvious irony is that a very cautious exhibition has currently been outlined by one amongst the few works within the show that took a real risk, albeit one that was disastrously miscalculated.
Whitney Biennial One work that stands go into this respect is Zarouhie Abdalian’s Chanson du ricochet, a sound installation placed in an outside well. It is simple to overlook the little objects embedded cryptically by the trees’ trunks, or to miss the oblique mention to the winter garden: a relic of the eu aristocracy whose history has been critically explored by figures as varied as Roland Barthes, Marcel Broodthaers, and Dan Graham.
Another crucial moment for Whitney is however simply unmarked piece is Cameron Rowland’s Public cash, that the creator persuaded the Whitney to speculate in a very Social Impact Bond: a briefing whereby cash-strapped native governments raise funds by privatizing basic social services (in this case, Associate in Nursing anti-recidivism program in Southern California).