{"id":26771,"title":"1993 Whitney Biennial Exhibition","dimensions":"","date_begin":"1993-01-01","material":"","art_status_id":220,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Monoculture Culture Wars The Decade Show","publishing_process_id":1,"annotation":"\u003cp\u003ePublished by Whitney Museum of American Art\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":17,"permalink":"1993-biennial-exhibition","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/149/medium_500/2020_Monoculture_Photo_M_HKA_cc_28_Decade2.jpg?1602756426","cached_actor_names":"","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Book","nl":"Boek","fr":"Livre"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/149/large/2020_Monoculture_Photo_M_HKA_cc_28_Decade2.jpg?1602756426","poster_credits":"image: (c) M HKA, Published by Whitney Museum of American Art","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eThese two exhibitions, which took place in New York three years apart, are often regarded together, as both were heavily orientated towards the tendency described as \u0026lsquo;identity politics\u0026rsquo;. Organised in the midst of the so-called \u0026lsquo;cultural wars\u0026rsquo;, \u003cem\u003eThe Decade Show\u003c/em\u003e and the 1993 Whitney Biennial in particular, are considered as the first major art exhibitions in the US to give visibility to artists from marginalised groups, whilst also presenting to the wider public such issues as the AIDS crisis, race, class, gender, imperialism and poverty, among others. In the case of \u003cem\u003eThe Decade Show\u003c/em\u003e, its representational strategy based on the contrasting of artworks of each minoritised group with that of mainstream (Anglo-Saxon/Western) artists promoted the tendency for the exaltation of differences as a mode of practice, since well-established in the US. The exhibitions received a maelstrom of criticism. Some critics felt there was a reductionist approach by the curators of the Whitney Biennial, with the complexity of some artworks reduced to the representation of marginality in essentialist terms. Perceived by some as vehemently political, the\u0026nbsp;displays were described as overly-didactic, and the organisers were accused of pandering to political correctness and sacrificing artistic quality in favour of multiculturalism and identity politics. Although controversial, these exhibitions \u0026ndash; and the Whitney Biennial to the greater extent \u0026ndash; have had considerable influence on the politics of representation within the artistic sphere.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003eDe twee tentoonstellingen, die in New York plaatsvonden met een interval van drie jaar, worden vaak samen besproken omdat ze allebei sterk geori\u0026euml;nteerd waren op een tendens die als \u0026#39;identiteitspolitiek\u0026#39; wordt omschreven. \u003cem\u003eThe Decade Show\u003c/em\u003e uit 1990, maar vooral de \u003cem\u003eWhitney Bi\u0026euml;nnale\u003c/em\u003e van 1993 \u0026ndash; allebei georganiseerd tijdens de zogenaamde \u0026#39;cultural wars\u0026#39; \u0026ndash; worden beschouwd als de eerste grote kunsttentoonstellingen in de VS die zichtbaarheid gaven aan kunstenaars uit gemarginaliseerde groepen, terwijl ze het bredere publiek ook kwesties voorlegden als de aids-crisis, ras, klasse, geslacht, imperialisme en armoede. De \u003cem\u003eThe Decade Show\u003c/em\u003e contrasteerde kunstwerken uit bovengenoemde minderheidsgroepen met die van \u0026#39;reguliere\u0026#39; (Angelsaksische/westerse) kunstenaars. Het was een representatiestrategie van het verheerlijken van verschillen \u0026ndash; sindsdien een courante tentoonstellingspraktijk in de VS. De tentoonstellingen kregen een berg kritiek over zich heen. Sommige critici verweten de curatoren van de \u003cem\u003eWhitney Bi\u0026euml;nnale\u003c/em\u003e een reductionistische benadering: de complexiteit van sommige kunstwerken zou terugbracht worden tot de representatie van een (essentialistisch begrepen) marginaliteit. De manier van exposeren werd door sommigen gezien als een radicaal politiek gebaar, anderen beschreven ze dan weer als overdreven didactisch. De organisatoren werden er ook van beschuldigd toe tegeven aan politieke correctheid en het opofferen van artistieke kwaliteit aan multiculturalisme en identiteitspolitiek. Hoewel controversieel, waren de twee expo\u0026#39;s \u0026ndash; en vooral de \u003cem\u003eWhitney Bi\u0026euml;nnale\u003c/em\u003e\u0026nbsp;van 1993 \u0026ndash; van aanzienlijke invloed op de representatiepolitiek binnen de kunstwereld.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[]}