Uploaded June 2024 | Updated September 2026, 3 weeks ago
The 2,700 prints Carmen Winant has assembled here form a collective portrait of the ordinary, daily tasks required to provide abortion health care—a project that became much more urgent with the overturning of Roe v. Wade in 2022. Winant worked across the Midwest and the South with the archives of special collections, university hospitals, but predominantly with clinics to collect photographs of staff, physicians, and volunteers taken over a fifty-year period. She arranged the photographs so that they have a visual rhythm, which she refers to as “a tapestry with warp and weft,” that draws the eyes to groupings that present brief vignettes. No real patients appear here— in some cases, images show clinic staff modeling as patients. Every sitter pictured from recent years has given their permission to appear in this installation at the Biennial, and all archives were approved for use in the artist’s project. This is important to Winant; she thinks of the process of building trust and community as an essential part of the work itself.
The 2024 Whitney Biennial is organized by Chrissie Iles, Anne and Joel Ehrenkranz Curator and Meg Onli, Curator at Large, with Min Sun Jeon and Beatriz Cifuentes. The performance program is organized by Iles and Onli, with guest curator Taja Cheek. The film program is organized by Iles and Onli, with guest curators Korakrit Arunanondchai, asinnajaq, Greg de Cuir Jr, and Zackary Drucker.
See the full artist list and learn more at whitney.org/exhibitions/2024-biennial. Book tickets here: whitney.org/tickets
#whitneybiennial #contemporaryart #whitneymuseum #carmenwinant #thelastsafeabortion #photography #installation #installationart #artistinterviews #artistinterview #2024whitneybiennial
The 2,700 prints Carmen Winant has assembled here form a collective portrait of the ordinary, daily tasks required to provide abortion health care—a project that became much more urgent with the overturning of Roe v. Wade in 2022. Winant worked across the Midwest and the South with the archives of special collections, university hospitals, but predominantly with clinics to collect photographs of staff, physicians, and volunteers taken over a fifty-year period. She arranged the photographs so that they have a visual rhythm, which she refers to as “a tapestry with warp and weft,” that draws the eyes to groupings that present brief vignettes. No real patients appear here— in some cases, images show clinic staff modeling as patients. Every sitter pictured from recent years has given their permission to appear in this installation at the Biennial, and all archives were approved for use in the artist’s project. This is important to Winant; she thinks of the process of building trust and community as an essential part of the work itself.
The 2024 Whitney Biennial is organized by Chrissie Iles, Anne and Joel Ehrenkranz Curator and Meg Onli, Curator at Large, with Min Sun Jeon and Beatriz Cifuentes. The performance program is organized by Iles and Onli, with guest curator Taja Cheek. The film program is organized by Iles and Onli, with guest curators Korakrit Arunanondchai, asinnajaq, Greg de Cuir Jr, and Zackary Drucker.
See the full artist list and learn more at whitney.org/exhibitions/2024-biennial. Book tickets here: whitney.org/tickets
#whitneybiennial #contemporaryart #whitneymuseum #carmenwinant #thelastsafeabortion #photography #installation #installationart #artistinterviews #artistinterview #2024whitneybiennial
