National Art Critic Ben Davis unpacks 'Quiet As It's Kept: The Whitney Biennial 2022,' a show that goes to eerie lengths to get its viewers to slow down:
” in culture going on towards the irreverent and the ironic, it’s not happening at the Whitney Museum of American Art.
A vial is shown beneath a spotlight in a clear display box. It is “Thomas Edison’s Last Breath,” per a wall label . The text also relays the story of the odd object—Henry Ford admired Edison so much that he had a friend bottle his dying breath—without explainingA visitor looks at a vial containing “Thomas Edison’s Last Breath.” Photo by Ben Davis.
So, you have a ghoulish relic celebrating a history defined by the relations of wealthy white men and industrial power. And around it, a silent Native presence and a hidden Black presence. In that puzzle you have an entire theory of cultural importance and artistic mission. In Lucy Raven’s video, you are shown a sequence of nondescript desert landscapes. Off-camera, explosions go off. Blast waves slowly unfurl across the image, in super-slow-mo. What you see are just the effects of cataclysmic force that you don’t see.creates a dream narrative, shifting between aimless, surreal vignettes starring mostly female background characters from the famously ultra-violent video gameactress Emma Watson spliced into an adult film.
In a ground-floor gallery made to feel like the hold of a ship, the art collective Moved by the Motion riffs on another Lit 101 classic, in the Whitney Biennial. Photo by Ben Davis. The curatorial turn seems readable as a reaction to the market dominance of figurative art featuring Black subjects, or queer themes, and an uneasiness with the resulting sense of the voracious consumption of identity as a product or as a too-easy symbol of social justice. In this way, the sheer space given to abstract painting here dovetails perfectly with the Biennial’s larger theme about the ethics of looking.
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