Showcasing the work of an exciting group of contemporary artists, this book reflects the trends shaping art in the United States today.

Presenting the latest iteration of this crucial exhibition, always a barometer of contemporary American art The 2022 Whitney Biennial is accompanied by this landmark volume. Each of the Biennial's participants is represented by a selected exhibition history, a bibliography, and imagery complemented by a personal statement or interview that foregrounds the artist's own voice. Essays by the curators and other contributors elucidate themes of the exhibition and discuss the participants. The 2022 Biennial's two curators, David Breslin and Adrienne Edwards, are known for their close collaboration with living artists. Coming after several years of seismic upheaval in and beyond the cultural, social, and political landscapes, this catalogue will offer a new take on the storied institution of the Biennial while continuing to serve--as previous editions have--as an invaluable resource on present-day trends in contemporary art in the United States.

Excerpt from First Biennial Exhibition of Contemporary American Painting: November 22nd, 1932, to January 5th, 1933 American Painting the Whitney Museum of American Art is following a precedent established by almost every important art museum in the United States of holding annually large and imporf tant exhibitions of American Art. An increasingly liberal spirit has broadened the scope of these exhibitions so that in recent years they have assumed greater importance to both artist and public. Believing that there exists in New York a need for this compre hensive type of exhibition in which the recent work of American artists may be seen under favorable circumstances, the Whitney Museum of American Art has established a series of exhibitions of painting, sculpture and the graphic arts, so that each year will bring one large exhibition. This year we inaugurate the series by the present show of paintings in oil. To make this exhibition representa/ tive of the various trends in painting throughout the country one hundred fifty/seven artists have been invited to contribute canvases of their own selection. This is a departure from the policy of other exhibitions similar in character where the jury system has obtained. Also, the Whitney Museum of American Art will award no prizes, but has set aside the sum of twenty thousand dollars each year for the purchase of works of outstanding excellence from the exhibi/ tions. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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Excerpt from Third Biennial Exhibition of Contemporary American Painting: November Tenth to December Tenth, Nineteen Thirty Six These exhibitions are organized by a dierent method than that usuallyemployed in assembling exhibitions of a similar character. No jury is appointed to choose the exhibits, the Museum accept ing full responsibility for the artists invited. The choice of the work contributed is left to the judgment of the artist. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.