Meg Onli – författare

A companion to the Whitney’s signature exhibition, featuring artists who are shaping the conversation about contemporary art in the United States today  Since its introduction in 1932, the Whitney Biennial has charted new developments in contemporary art. Amid ongoing upheavals in cultural, social, and political spheres, this catalogue offers an engaging new take on the storied institution of the Biennial while continuing to serve, as all previous editions have, as an invaluable resource about art in the United States today.  The curators of the 2024 Whitney Biennial, Chrissie Iles and Meg Onli, are both known for genre-defying, boundary-pushing thematic exhibitions A thematically organized image section reflecting the work of artists in the Biennial will be followed by entries about each artist—an approach that will encourage readers to draw connections between the work of different artists. A collaborative essay by Iles and Onli will present their thinking behind the exhibition, while essays by curators and scholars Eva Hayward and Amber Jamilla Musser will surface specific themes.  Distributed for the Whitney Museum of American Art  Exhibition Schedule:  Whitney Museum of American Art, New York(March 27–August 18, 2024)

A career-spanning look at the methods, influences, motivations, and continuing relevance of one of America’s foremost Pop artistsRoy Lichtenstein’s bold, instantly recognizable imagery and style helped redefine the possibilities of painting when it first gained widespread attention in the early 1960s, and it has been ceaselessly copied ever since. This ubiquity is part of his legacy, but it has also obscured the radical nature of his work. Spanning his entire career, from his formative years at Ohio State University in the 1940s to his death in 1997, this volume offers a fresh consideration of Lichtenstein’s methods, influences, sources, and subjects, and includes reproductions of rarely seen early works, preparatory drawings, and source materials. It eschews traditional chronology in favor of unexpected pairings and groupings that reveal the artist’s lifelong engagement with repetition, simulation, and the aesthetics of mass culture, while at the same time exploring how his images have subsequently been cited, distorted, and reimagined. This fascinating study highlights how Lichtenstein’s practice of producing works that nod to mechanically printed materials but were actually painstakingly painted by hand created a tension between technological reproduction and artistic touch that presciently foreshadows today’s visual landscape of cropped, altered, and repurposed images.Distributed for the Whitney Museum of American ArtExhibition Schedule:Whitney Museum of American Art, New York(October 2026–May 2027)

Artworks, essays and poetry explore the racial implications of capitalist temporalitiesIn 2019, the Institute of Contemporary Art at the University of Pennsylvania presented the experimental exhibition Colored People Time. Divided into three chapters—Mundane Futures, Quotidian Pasts, Banal Presents—it used the Black vernacular phrase "Colored People's Time" (CPT) to explore the ways that dominant notions of time have been used to control and condemn Black people. CPT names a political performance by Black people to evade and ridicule the enforcement of punctuality and productivity.Alongside reproductions of historical objects from the Black Panther Party, Sutton E. Griggs, the National Institutes of Health/Getty Images, and the African Collection at the University of Pennsylvania Museum of Archaeology and Anthropology, Colored People Time includes reprints of seminal essays, newly commissioned writing and poetry from Huey Copeland, Eve Ewing, Michael Hanchard, Matthew Angelo Harrison, Amber Rose Johnson, Carolyn Lazard, Jessica Lynne, Tausif Noor, Meg Onli, Gregory Pardlo, M. NourbeSe Philip, Monique Scott, Martine Syms and Michelle M. Wright.Artists include: Aria Dean, Kevin Jerome Everson, Matthew Angelo Harrison, Carolyn Lazard, Dave McKenzie, Cameron Rowland, Sable Elyse Smith and Martine Syms.

The first monograph on the groundbreaking video artist and member of the seminal Video Venice News and Studio Z groupsThis is the first major retrospective on the groundbreaking Los Angeles–based video artist Ulysses Jenkins (born 1946). Since the 1970s, Jenkins has interrogated questions of race and gender as they relate to ritual, history and state power. From his work with Video Venice News, a Los Angeles media collective he founded in the early 1970s, to his involvement with the artists’ group Studio Z (alongside figures such as David Hammons, Senga Nengudi and Maren Hassinger), to his video and performance works, Jenkins explores how white supremacy is embedded in popular culture. Beginning as a painter and muralist, Jenkins was introduced to video just as the first consumer cameras were made available, and he quickly seized upon the technology as a means to broadcast critical depictions of multiculturalism. This catalog features an extensive portion of Jenkins’ archive, early documentary films, photographs and ephemera, as well as his video art.