Looking Back / The 12th White Columns Annual – Selected by Mary Manning

January 22–March 5, 2022
Eight works installed to the left of the exhibition entrance. Two works hang on a freestanding white wall. Behind it are six additional works including a hanging garment.

Looking Back / The 12th White Columns Annual, installation view, 2022.

A number of works exhibited inside a gallery, including a collage on paper, a portrait, and two sculptures hung from the wall.

Looking Back / The 12th White Columns Annual, installation view, 2022.

A black, 3D printed sculpture placed on top of a white cylinder vitrine. Further behind, nine works are installed on opposing gallery walls.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Five works are hung on either side of an arched gallery entrance. A small photograph hangs on a brick wall in between the arch. Further behind, a large framed work can be seen in the background.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Several artworks installed inside a gallery, two of which are exhibited on a freestanding wall.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Eight works of various media and sizes installed in a gallery. Two works are presented on pedestals and six works are presented on opposing gallery walls.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Ten works installed in a gallery; eight hang on adjacent walls, one on a freestanding wall to the right, and one sits on a pedestal.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Nine works installed along two adjacent walls: three to the left, five to the right, and one where the two walls meet.

Looking Back / The 12th White Columns Annual, installation view, 2022.

A center pedestal displays Dmitri Hertz’s ‘Tomato (Pollen 12, Solanum Lycopersicum)’ MDF, wood dye sculpture. Behind, five works are installed on a wall.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Seven works installed on various walls in a gallery including two photographs, two sculptures, and a painting.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Five works installed, one sculpture in the foreground and four works on adjacent walls in the background.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Four works hang on a wall to the left. On the right, Fabienne Lasserre’s ‘Appear’ hangs from the ceiling.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Installation view of Fabienne Lasserre’s ‘Appear, a ’translucent sculpture hanging in front of the gallery’s street facing window.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Four works installed along different walls in a gallery. From right to left: a painting by Kern Samuel, a photo by Diamond Stingily, polaroids by Frederick Weston, and a painting by Ann Craven.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Five works installed on gallery walls. ‘Barry (144 Polaroids)’ by Frederick Weston on the right and ‘Untitled by Jacob Robichaux on the left. Three additional works can be seen in the background.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Three monitors on a white wall play Neil Greenberg’s ‘The Disco Project Installation,’ 2021-2022 with two stools in the center of the gallery space. Five other works surround the video installation.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Four works installed on a gallery wall including two photographs and two paintings. In front of them are two stools on the floor of the gallery.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Five works installed on adjacent gallery walls.

Looking Back / The 12th White Columns Annual, installation view, 2022.

A frontal view of Neil Greenberg’s ‘The Disco Project Installation’ presented on a freestanding wall with three monitors and a speaker at the lower left.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Jacqueline Humphries’ ‘Untitled,’ a 3D-printed blacklight painting depicting a shrugging emoticon.

Looking Back / The 12th White Columns Annual, installation view, 2022.

Press Release

White Columns is excited to reinstate its Annual exhibition, Looking Back, for its 12th iteration, curated by the New York-based artist Mary Manning. The exhibition will be presented throughout all of White Columns’ galleries, alongside a parallel screening of Barbara Hammer’s films.

As with previous ‘Annuals’ an individual or a collaborative team (e.g. an artist, a curator, a writer, etc.) is invited to organize an exhibition based on their personal experiences and interactions with art in New York City during the previous year. In a very straightforward way, the ‘Annual’ exhibitions hope to reveal something of the complexities involved in trying to negotiate – and engage with – New York’s constantly shifting cultural landscapes. The format of the exhibition inevitably encourages highly subjective and personal responses to the realities of viewing art in New York City. The ‘Annual’ exhibition series hopes to illuminate aspects of the specific, yet highly idiosyncratic networks – historical, social, aesthetic, etc. – that individuals follow in an increasingly expansive and fragmented cultural environment. 

Writing about their experience working on the exhibition Manning said:

“As the global pandemic raged on for another year in 2021 I felt that I was still working with confusion and some heartbreak, so the experience of getting to go look at art with a purpose of sorts had a different, more joyful register. I primarily used love as a guiding metric to select these works, being aware of the messy hard work that comes with love and the rigorous emotional work that went into making these pieces.” – Mary Manning, 2022.

Through the recontextualization of artworks encountered in other circumstances and contexts, the exhibition hopes to establish – albeit temporarily – a new ‘narrative’, a conversation, of sorts, amongst both artists and artworks that seeks to illuminate and/or explore certain underlying tendencies or connections that might otherwise have remained elusive or obscured. In rethinking aspects of the (fairly) recent past the exhibition hopes to provoke something akin to a sense of déjà vu, establishing a scenario that is at once both reflective and forward-thinking.

There are no restrictions as to what type of work can be included. The ‘Annual’ exhibitions seek to eliminate any categorical or hierarchical distinctions we might place upon artworks (e.g. based upon the circumstances in which they were originally seen, or the seniority of an individual artist, etc.) The works included in the exhibition might have originally been encountered in exhibitions at galleries, not-for-profit spaces, or during visits to artists’ studios, etc.

Writing about the ‘Annual’ exhibitions in the The New York Times, Holland Cotter wrote:

“One of the things that makes the White Columns annuals so valuable is that they often include artists … who are unlikely to find their way into mainstream institutions. A second, equally important function that Looking Back serves, or should serve, is to provide a view of contemporary art that is not entirely determined by art-industry consensus – meaning the market – but rather is seen through a single informed, idiosyncratic, even resistant sensibility.” 

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Events & Screenings:

Thursday, February 3rd at 7pm: A reading event organized by Fiona Alison Duncan and Hard to Read featuring contributions from Sarah Schulman, Alisha Mascarenhas, Muna Mire, Thora Siemsen and Arthur Jafa. (List in formation, full program details to follow.)

Wednesday, March 2nd, 7pm at Performance Space: A screening of films by Barbara Hammer.

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About Mary Manning:

Mary Manning (b. 1972, Alton, IL) lives and works in New York City. They are represented by CANADA Gallery (NYC), where they have a forthcoming solo exhibition scheduled for April 2022. CANADA will also publish the artist’s first monograph this spring. Previous solo exhibitions include Love at CANADA (NYC) in 2018, Blue Prints at Little Sister (Toronto, CA) in 2018 and Trees Is As Good As Anything at Cleopatra’s (NYC) in 2017. Manning’s work has been included in group exhibitions at Gordon Robichaux (NYC) and Situations (NYC). Manning frequently collaborates with other artists, brands, and writers with their imagery; and has published their work in several magazines in addition to their own books and zines.

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 The curators of the previous White Columns Annual exhibitions were: White Columns’ Director Matthew Higgs; Clarissa Dalrymple; Jay Sanders; Primary Information (Miriam Katzeff and James Hoff); Bob Nickas; Ken Okiishi and Nick Mauss; Richard Birkett; Pati Hertling; Cleopatra’s (Bridget Donahue, Bridget Finn, Colleen Grennan, and White Columns’ Deputy Director and Curator Erin Somerville); and Anne Doran.

White Columns and Mary Manning would like to thank all of the participating artists and galleries for their enthusiasm and support for Looking Back.

For further information about this exhibition contact: info@whitecolumns.org

Participating Artists

Patrick Angus
Brassaï
Donna Chung
Anne Collier
Ann Craven
Aria Dean
Hard To Read/Fiona Alison Duncan
Nicole Eisenman
Matthew Fischer
Gauri Gill
Neil Greenberg
Nan Goldin
Molly Greene
Barbara Hammer
Dmitri Hertz
Matt Hoyt
Jacqueline Humphries
Dominique Knowles
Irwin Kremen
Fabienne Lasserre
Deana Lawson
Eric N. Mack
Alice Mackler
Nour Mobarak
Monique Mouton
Luke O’Halloran
Gordon Parks
Matt Paweski
Lisa Ponti
Jacob Robichaux
Sam Roeck
Mosie Romney
Em Rooney
Kern Samuel
Davina Semo
Arthur Simms
Diane Simpson
Diamond Stingily
Sophie Stone
Marisa Takal
Stewart Uoo
Frederick Weston
Kandis Williams
Terry Winters
Yui Yaegashi

Event

Continuity, Hard to re-Read

Broadcasted by Montez Press Radio on Thursday, February 3rd at 7pm EST

Honoring the work of Sarah SchulmanEtel Adnanbell hooksSylvère LotringerSOPHIE, and Greg Tate.

With readings from Arthur JafaIris Klein and Chris KrausAlisha MascarenhasMuna MireSarah Schulman, and Thora Siemsen, followed by a brief Q&A with Sarah Schulman.

This event is organized on the occasion of the current exhibition Looking Back – The 12th White Columns Annual – selected by Mary Manning.

Hosted by Fiona Alison Duncan.

February 3, 2022

Eight works installed to the left of the exhibition entrance. Two works hang on a freestanding white wall. Behind it are six additional works including a hanging garment.
A number of works exhibited inside a gallery, including a collage on paper, a portrait, and two sculptures hung from the wall.
A black, 3D printed sculpture placed on top of a white cylinder vitrine. Further behind, nine works are installed on opposing gallery walls.
Five works are hung on either side of an arched gallery entrance. A small photograph hangs on a brick wall in between the arch. Further behind, a large framed work can be seen in the background.
Several artworks installed inside a gallery, two of which are exhibited on a freestanding wall.
Eight works of various media and sizes installed in a gallery. Two works are presented on pedestals and six works are presented on opposing gallery walls.
Ten works installed in a gallery; eight hang on adjacent walls, one on a freestanding wall to the right, and one sits on a pedestal.
Nine works installed along two adjacent walls: three to the left, five to the right, and one where the two walls meet.
A center pedestal displays Dmitri Hertz’s ‘Tomato (Pollen 12, Solanum Lycopersicum)’ MDF, wood dye sculpture. Behind, five works are installed on a wall.
Seven works installed on various walls in a gallery including two photographs, two sculptures, and a painting.
Five works installed, one sculpture in the foreground and four works on adjacent walls in the background.
Four works hang on a wall to the left. On the right, Fabienne Lasserre’s ‘Appear’ hangs from the ceiling.
Installation view of Fabienne Lasserre’s ‘Appear, a ’translucent sculpture hanging in front of the gallery’s street facing window.
Four works installed along different walls in a gallery. From right to left: a painting by Kern Samuel, a photo by Diamond Stingily, polaroids by Frederick Weston, and a painting by Ann Craven.
Five works installed on gallery walls. ‘Barry (144 Polaroids)’ by Frederick Weston on the right and ‘Untitled by Jacob Robichaux on the left. Three additional works can be seen in the background.
Three monitors on a white wall play Neil Greenberg’s ‘The Disco Project Installation,’ 2021-2022 with two stools in the center of the gallery space. Five other works surround the video installation.
Four works installed on a gallery wall including two photographs and two paintings. In front of them are two stools on the floor of the gallery.
Five works installed on adjacent gallery walls.
A frontal view of Neil Greenberg’s ‘The Disco Project Installation’ presented on a freestanding wall with three monitors and a speaker at the lower left.
Jacqueline Humphries’ ‘Untitled,’ a 3D-printed blacklight painting depicting a shrugging emoticon.

Looking Back / The 12th White Columns Annual, installation view, 2022. (Eight works installed to the left of the exhibition entrance. Two works hang on a freestanding white wall. Behind it are six additional works including a hanging garment.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (A number of works exhibited inside a gallery, including a collage on paper, a portrait, and two sculptures hung from the wall.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (A black, 3D printed sculpture placed on top of a white cylinder vitrine. Further behind, nine works are installed on opposing gallery walls.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (Five works are hung on either side of an arched gallery entrance. A small photograph hangs on a brick wall in between the arch. Further behind, a large framed work can be seen in the background.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (Several artworks installed inside a gallery, two of which are exhibited on a freestanding wall.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (Eight works of various media and sizes installed in a gallery. Two works are presented on pedestals and six works are presented on opposing gallery walls.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (Ten works installed in a gallery; eight hang on adjacent walls, one on a freestanding wall to the right, and one sits on a pedestal.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (Nine works installed along two adjacent walls: three to the left, five to the right, and one where the two walls meet.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (A center pedestal displays Dmitri Hertz’s ‘Tomato (Pollen 12, Solanum Lycopersicum)’ MDF, wood dye sculpture. Behind, five works are installed on a wall.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (Seven works installed on various walls in a gallery including two photographs, two sculptures, and a painting.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (Five works installed, one sculpture in the foreground and four works on adjacent walls in the background.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (Four works hang on a wall to the left. On the right, Fabienne Lasserre’s ‘Appear’ hangs from the ceiling.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (Installation view of Fabienne Lasserre’s ‘Appear, a ’translucent sculpture hanging in front of the gallery’s street facing window.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (Four works installed along different walls in a gallery. From right to left: a painting by Kern Samuel, a photo by Diamond Stingily, polaroids by Frederick Weston, and a painting by Ann Craven.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (Five works installed on gallery walls. ‘Barry (144 Polaroids)’ by Frederick Weston on the right and ‘Untitled by Jacob Robichaux on the left. Three additional works can be seen in the background.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (Three monitors on a white wall play Neil Greenberg’s ‘The Disco Project Installation,’ 2021-2022 with two stools in the center of the gallery space. Five other works surround the video installation.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (Four works installed on a gallery wall including two photographs and two paintings. In front of them are two stools on the floor of the gallery.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (Five works installed on adjacent gallery walls.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (A frontal view of Neil Greenberg’s ‘The Disco Project Installation’ presented on a freestanding wall with three monitors and a speaker at the lower left.)

Looking Back / The 12th White Columns Annual, installation view, 2022. (Jacqueline Humphries’ ‘Untitled,’ a 3D-printed blacklight painting depicting a shrugging emoticon.)