Whitney Biennial 1977: Contemporary American Art
Feb 19–Apr 3, 1977
Cover for 1977 Biennial Catalogue
Whitney Biennial 1977: Contemporary American Art was curated by John G. Hanhardt, Barbara Haskell, Mark Segal, Patterson Sims, and Marcia Tucker.
View the full exhibition catalogue at the Internet Archive.
Installation Photography
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). Artwork by John Baldessari. Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). Barry Le Va, Accumulated Vision Series II (1977). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). Terry Allen, The Evening Gorgeous George Died (1976). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Joel Shapiro, Running Man (1976); Joel Shapiro, Untitled (1976); Joel Shapiro, Untitled (House on Field) (1975–76); Joel Shapiro, Fallen Tree (1976). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). Terry Allen, 4 episodes from The Evening Gorgeous George Died (1976). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Ron Gorchov; Mel Bochner; Jackie Winsor. Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Jim Nutt, I can Do It (1975–76); Jim Nutt, I Like You (1975); Jim Nutt, I’d Rather Stay (On the other Hand) (1975–76); Jim Nutt, Which Side Are You ON? (1975–76). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). Dennis Oppenheim, Lecture (1976). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Nicholas Africano, Cynthia’s Legs (1976); Nicholas Africano, Nicholas Watching (1976); Nicholas Africano, Rubbing Anna’s Legs (1976). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Barry Le Va; Jennifer Bartlett; Joan Brown; center: Michael Heizer. Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Bruce Nauman, White Breathing II; Bruce Nauman, White Breathing Mirrored and Rolled North (1976–77). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Alfred Jensen, Doric Order; Alfred Jensen, Great Occupation; H.C. Westermann, Fools Gold; H.C. Westermann, Machine Dedicated to Spike Jones. Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Richard Estes; Brice Marden; Stephen A. Davis. Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Jennifer Bartlett, Seaside Walk, Dwight St., Jarvis St., Green St. (1976); Duane Hanson, House Painter (1975–76). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Duane Hanson, Rita: The Waitress (1975); Duane Hanson, Security Guard (1975). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Robert Cumming, Crutch-Arrow (1976); Robert Cumming, 2 Easel Chairs (1976); Robert Cumming, Distracted in Mid-Stride; Robert Cumming, Spike Heeled Man Kneels to Read (1975); Robert Cumming, Men’s Spike Heels (1975). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: James Hill, Gorilla James in the Studio (1976); James Hill, Africa N.Y. Nights (1976); Richard Estes, Murano Glass (1976); Richard Estes, Double Self Portrait (1976); Richard Estes, Bridal Accessories (1975). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Joe Zucker, Clear and Single Purpose (1976); Joe Zucker, Triassic Jurassic (1976). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Brice Marden, First Figure (1973–74); Agnes Martin, Untitled (1975); Agnes Martin, Untitled (1975); Agnes Martin, Untitled (1975). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Charles Simonds, Quarry (1976); Ron Gorchov, Spice of Life (1976). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: David True, Blue Sea (1976); David True, Green Wedge (1976); Dorothea Rockburne, Golden Section: Square Separated by Parallelogram with Diamond (1974); Dorothea Rockburne, Noli Me Tangere (1976); Dorothea Rockburne, Sepulcro (1976); center: Michael Heizer, Circle (1976). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). Ree Morton, Signs of Love (1976). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Chuck Close, Bob I/154 (1973); Chuck Close, Bob II/616 (1973); Chuck Close, Bob III/2464 (1973); Chuck Close, Robert/104,072 (1973–74); Chuck Close, Leslie (1973). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Alan Saret, Single Filament Flexible Network Sculpture (1974–77); bottom: Alan Saret, Proposal for Nebraska State Highway Bicentennial Projects (1974); top: Alan Saret, Great Stair Place (1974); Ozalid prints. Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: H.C. Westermann, Hutch—One armed “Astro-Turf” Man with a Defense (1976); Alfred Jensen, The Doric Order (1972). Photograph by Eeva Inkeri
Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Elizabeth Murray, Searchin (1976); Elizabeth Murray, Desire (1976); Elizabeth Murray, Beginner (1976); center: Jackie Winsor, Green Place (1976). Photograph by Eeva Inkeri
In the News
“The Whitney Museum’s 1977 Biennial has been praised by some and harshly criticized by others who have denounced many of the entries as trivial, silly, pretentious, or vulgar. [. . .] The vituperations should not cause spectators to overlook numerous other works of real quality . . .” —Art Journal
“Recent experience gives us ample reason to know in advance that the specialty of these shows—the thing that gives them their special quality and flavor—is a surpassing esthetic boredom. They seem to be governed by a positive hostility toward—a really visceral distaste for—anything that might conceivably engage the eye in a significant or pleasurable visual experience.” —The New York Times
“. . . one of the few places where American artists can uninhibitedly display their efforts in a non-commercial showcase.” —The New York Times
More from this series
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