Looking Back / The 14th White Columns Annual – Selected by Randy Kennedy

January 19–March 2, 2024
North west view of the main gallery. Directly ahead is the north white wall, which has 4 paintings of various sizes installed on it. To the right, a white wall partition divides the east and west side of the main gallery; 3 pieces of art are hung on the visible side of the wall. To the left is the west, white wall, which has a large, arched entryway. To the right of the entryway is a large, square painting, and to the left of the entryway is a large sculpture of a dollhouse balanced on top of a ceramic pot, which stands on top of a wooden pedestal.

Looking Back / The 14th White Columns Annual, installation view, 2024.

Frontal view of the west-facing side of the freestanding wall in the main gallery, which has three pieces hung on it. Above two of the pieces is an oversized, flat sculpture of a cigarette. To the lower left of the “cigarette” is a sculpture, installed on a white shelf, of a wooden circle that stands upright on a white shelf. It is covered with horizontal and vertical stripes of light green and red paint, as well as smaller, varied, multicolored stripes. To the right of this sculpture is a rugged and abstract mixed media piece, featuring warm tones of red, orange, and brown.

Looking Back / The 14th White Columns Annual, installation view, 2024.

Frontal view of the west wall in the main gallery, just to the right of the arched entryway. To the left is a large painting, depicting the United States Capitol Building. The building is partially covered with multicolored abstract brushstrokes, which distort the landscape. To the right of this piece is sculpture of a wooden cane that hangs sideways with a rifle scope attached to the top of it. Directly below this cane, a small postcard is pinned.

Looking Back / The 14th White Columns Annual, installation view, 2024.

Frontal view of a wall in the gallery There are two paintings: on the left, a larger, symmetrical and abstract painting, with green, brown and yellow tones. The painting is framed in an ornate, large black frame that has a border of abstract curves and edges. To the right of this painting is a smaller painting in a brown wooden frame, that is completely yellow, with a textured, white, circular center.

Looking Back / The 14th White Columns Annual, installation view, 2024.

View of the northeast corner of the main gallery, with a view of a large and a small abstract painting on the left wall. On the right wall, we see a series of two rows of three drawings in oil pastel, with tones of yellow, white, and black. To the right of this series is a small green and white painting, and further to the right is a small wooden house-like sculpture, almost like a box, that sits on a shelf.

Looking Back / The 14th White Columns Annual, installation view, 2024.

Frontal view of the east wall of the main gallery. To the left is a series of two rows of three drawings in oil pastel. Each feature three arrows, all pointing in the same direction, two paintings yellow, and the other four, black. To the right of this series is a small painting that is primarily green, with a green triangle protruding from the lower half of the painting, suggesting the shape of a house. To the lower right of this painting is a shelf that holds a wooden sculpture, also houselike, with many layers of wood on it, and a small piece of wood protruding from the top of the box, as if like a chimney.

Looking Back / The 14th White Columns Annual, installation view, 2024.

View of two walls flanking floor-to-ceiling windows of the main gallery. To the right is the east side of the freestanding wall, and to the left of the photo is the east wall. In the center of the image is an anthropomorphic orange and white sculpture that sits cross-legged on a white pedestal. On the partition, six art pieces hang of varying size and colors, and on the east wall, a series of four abstract, colorful mandala-like paintings hang to the left of a wooden, mixed media sculpture.

Looking Back / The 14th White Columns Annual, installation view, 2024.

Frontal view of the east wall of the main gallery. To the left, a series of 4 paintings hang two on top of two. Each rectangular frame features a depiction of a circle, all multi-colored and feature varying geometric patterns. To the right of the series is a wooden box that is hung on the wall, with the opening facing outward. Screwdrivers appear to pierce the left and right sides of the box, and act as a dowel to hold red and black dice of varying size on the inside of the box.

Looking Back / The 14th White Columns Annual, installation view, 2024.

Frontal view of the east side of the partition in the main gallery. Six colorful, abstract wall works are hung gallery-style at varying heights and distances The top three are smaller works, while the bottom three are all slightly larger. All 6 pieces show signs of abstraction.

Looking Back / The 14th White Columns Annual, installation view, 2024.

An expansive view of the west side of the gallery, and the wall partition. In the foreground of the photo is a sculpture of a female figure in white and orange tones and sits on a white, square pedestal. Behind the sculpture is an archway that offers a slight view of the West Gallery. To the right of the sculpture is a freestanding white wall with six abstract works hung at varying heights and distances from one another

Looking Back / The 14th White Columns Annual, installation view, 2024.

Frontal view of three walls in the West Gallery. Four pieces hang on the far wall. The wall to the right holds one large scale painting of the gaping maw of a cave rendered in vivid orangey-red tones, and directly in front of it is a white, geometric sculpture that sits on a blue square pedestal. On the left wall, 5 pieces are seen hung on the wall.
Frontal view of three walls in the West Gallery. Four pieces hang on the far wall. The wall to the right holds one large scale painting of the gaping maw of a cave rendered in vivid orangey-red tones, and directly in front of it is a white, geometric sculpture that sits on a blue square pedestal. On the left wall, 5 pieces are seen hung on the wall.
Angled view of a gallery wall to the left of two floor-to-ceilings windows. There is a large orange-toned painting on the left, and to the right of the painting is a much smaller painting, with green and black. In front of the wall is a blue pedestal, and on top of it is a white geometric sculpture. In the right of the photo is an orange bust made of polyurethane insulation foam in a glaze case, on top of a square, white pedestal. To the left of this sculpture, on the column separating two windows is a small piece with green and brown tones.

Looking Back / The 14th White Columns Annual, installation view, 2024.

Slightly angled view of the west wall of the West Gallery. To the left are two small black and white prints, and next to them, a larger, somewhat distressed dark image of palm trees. To the right of these pieces are four framed drawings, all featuring colorful, complex circular geometric patterns, of varying sizes.

Looking Back / The 14th White Columns Annual, installation view, 2024.

A frontal view of four framed drawings of various sizes hung on a white wall. On the left, a large drawing features one multi-colored circle, and to the right, two small pieces that also feature a multicolored circle are hung on top of each other. Lastly, to the right is the largest piece, with 7 circles depicted, of varying color and geometric design.

Looking Back / The 14th White Columns Annual, installation view, 2024.

Frontal view of four artworks hung on a white wall. In the center is a large abstract yellow, blue, brown and black painting. To the right is a smaller framed piece, with a red piece of cloth attached to a stick on a white background, resembling a flag of sorts. On the left of the large painting are two pieces on top of one another- the top piece is an abstract form made of worn pieces of a yellow down jacket, and below, a circular brown piece with a paper-like rip through it, with two blue clothespins attached on either side of the rip.

Looking Back / The 14th White Columns Annual, installation view, 2024.

A detail shot of a white sculpture that sits atop a blue pedestal, in the center of the west gallery. In the background is a view of an orange and black painting, acting almost as a backdrop for the sculpture, contrasting from the light, bright foreground.

Looking Back / The 14th White Columns Annual, installation view, 2024.

Photo taken from the entryway of the gallery, looking into the west gallery. On the left wall that separates the west gallery and the entryway, 4 photos are hung, all of children, of varying size and subject matter. To the right, a large piece is seen inside of the West Gallery, and to the right of the photo a painting hanging in the entryway is just barely seen.

Looking Back / The 14th White Columns Annual, installation view, 2024.

Frontal view of the north facing wall of the entryway. To the left, is a large, dark painting with a dark purple background, and light yellow and bright blue long brushstrokes painted vertically, resembling an abstracted view of a tall building. To the right of the painting are two long wooden sticks propped against the wall, as well as a long, paddle-like dark brown object that is also propped against the wall, next to the sticks.

Looking Back / The 14th White Columns Annual, installation view, 2024.

Angled view of the northeast area of the entryway. On the north wall, a large painting is seen, and to the right, three long sculptures are propped against the wall. On the brick east wall, to the right of a large, arched entryway, is a small, white piece with black writing that reads “THIEVES OPERATE IN THIS AREA” in distinctive scrawled, messy handwriting.

Looking Back / The 14th White Columns Annual, installation view, 2024.

Curator's Statement

“With apologies to Claes Oldenburg (“I Am For An Art”) and thanks to all the artists whose work I saw over the last year and was able to include in this show:

I am for an art that sneaks in through the side door, an art that’s undercover, underhanded, underwater, an art that joins the underground resistance, an art that is understated and overbearing, overstated and undermining, aboveboard and double-dealing, an art that is spit-polish unfinished and junkyard clean. I am for an art that wears no hat in the winter, an art that won’t show its cards, an art with something up its sleeve, an art that stands up for itself while falling down. An art that doesn’t hold a job, carries a minor criminal record, picks up night shifts, argues with strangers, passes out at parties, disappears for days on end with no word, an art that bought a ticket for the circus but won’t go in, an art that secretly won the lottery and gave it all away. I am for an art that keeps its distance from language and contradicts its own taste. An art that is “wrenched and sweaty … calm and cool,” (Whitman), an art that provides “almost-clarity about not-quite confusion” (Richard Nonas), an art that has no time but just won’t leave, an art that closes the joint down.”

Randy Kennedy
January 2024

Press Release

White Columns is pleased to announce the 14th edition of its Annual exhibition Looking Back, which has been selected by the New York-based writer and curator Randy Kennedy. The exhibition will be presented throughout all of White Columns’ galleries.

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.

Through the recontextualization of artworks encountered in other circumstances, 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 a variety of contexts such as exhibitions at galleries, not-for-profit spaces, art fairs, or during visits to artists’ studios, etc.

Writing in Artforum in 2022 about the 12th ‘Annual’ exhibition selected by artist Mary Manning, Johanna Fateman wrote:

“In ‘Looking Back,’ Manning’s response to what could have been a dismaying subject – the not-quite-back-to-normal art world of 2021 – left me somewhat relieved. The show seemed to credibly propose that it was a good year for small things, for perceiving and adjusting to, but not making decisive claims about, our particular catastrophic-embryonic state.”

Writing about the ‘Annual’ exhibitions in 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.”

 


 

About Randy Kennedy:

 Randy Kennedy is a writer, editor and curator. He worked for 25 years for The New York Times, much of that time writing about the art world, and he has also written for Aperture, The Paris Review, The Art Newspaper and numerous other publications. His first novel, Presidio, was published by Simon & Schuster in 2018. He is editor in chief of Ursula magazine, published by Hauser & Wirth. He is currently at work on a play in collaboration with the artist Will Boone, based on a notorious 1927 bank robbery in Cisco, Texas.

 


 

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); Anne Doran; Mary Manning; and Olivia Shao.

White Columns and Randy Kennedy 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: violet@whitecolumns.org

Gallery hours: Tuesday – Saturday, 11am to 6pm.

Participating Artists

Bill Adams
Liz Ainslie
Ever Baldwin
Yevgeniya Baras
Jennifer Bolande
Will Boone
Beverly Buchanan
Tom Burckhardt
William Christenberry
Martha Diamond
Tom Fairs
Hadi Falapishi
Harold Granucci
Tyree Guyton
Robert Hawkins
Oliver Lee Jackson
Jim Joe
Ken Johnson
Manal Kara
Rhoda Kellogg
Larry Krone
Ohad Meromi
Ralph Middleton
Marlon Mullen
Betty Parsons
Noah Purifoy
Sarah Rapson
Evelyn Reyes
David Schoerner
Dave Schubert
Ross Tibbles
Mose Tolliver
Richard E. Treubel
Kevin Umaña
Jean-Luc Verna

 

Events

North west view of the main gallery. Directly ahead is the north white wall, which has 4 paintings of various sizes installed on it. To the right, a white wall partition divides the east and west side of the main gallery; 3 pieces of art are hung on the visible side of the wall. To the left is the west, white wall, which has a large, arched entryway. To the right of the entryway is a large, square painting, and to the left of the entryway is a large sculpture of a dollhouse balanced on top of a ceramic pot, which stands on top of a wooden pedestal.
Frontal view of the west-facing side of the freestanding wall in the main gallery, which has three pieces hung on it. Above two of the pieces is an oversized, flat sculpture of a cigarette. To the lower left of the “cigarette” is a sculpture, installed on a white shelf, of a wooden circle that stands upright on a white shelf. It is covered with horizontal and vertical stripes of light green and red paint, as well as smaller, varied, multicolored stripes. To the right of this sculpture is a rugged and abstract mixed media piece, featuring warm tones of red, orange, and brown.
Frontal view of the west wall in the main gallery, just to the right of the arched entryway. To the left is a large painting, depicting the United States Capitol Building. The building is partially covered with multicolored abstract brushstrokes, which distort the landscape. To the right of this piece is sculpture of a wooden cane that hangs sideways with a rifle scope attached to the top of it. Directly below this cane, a small postcard is pinned.
Frontal view of a wall in the gallery There are two paintings: on the left, a larger, symmetrical and abstract painting, with green, brown and yellow tones. The painting is framed in an ornate, large black frame that has a border of abstract curves and edges. To the right of this painting is a smaller painting in a brown wooden frame, that is completely yellow, with a textured, white, circular center.
View of the northeast corner of the main gallery, with a view of a large and a small abstract painting on the left wall. On the right wall, we see a series of two rows of three drawings in oil pastel, with tones of yellow, white, and black. To the right of this series is a small green and white painting, and further to the right is a small wooden house-like sculpture, almost like a box, that sits on a shelf.
Frontal view of the east wall of the main gallery. To the left is a series of two rows of three drawings in oil pastel. Each feature three arrows, all pointing in the same direction, two paintings yellow, and the other four, black. To the right of this series is a small painting that is primarily green, with a green triangle protruding from the lower half of the painting, suggesting the shape of a house. To the lower right of this painting is a shelf that holds a wooden sculpture, also houselike, with many layers of wood on it, and a small piece of wood protruding from the top of the box, as if like a chimney.
View of two walls flanking floor-to-ceiling windows of the main gallery. To the right is the east side of the freestanding wall, and to the left of the photo is the east wall. In the center of the image is an anthropomorphic orange and white sculpture that sits cross-legged on a white pedestal. On the partition, six art pieces hang of varying size and colors, and on the east wall, a series of four abstract, colorful mandala-like paintings hang to the left of a wooden, mixed media sculpture.
Frontal view of the east wall of the main gallery. To the left, a series of 4 paintings hang two on top of two. Each rectangular frame features a depiction of a circle, all multi-colored and feature varying geometric patterns. To the right of the series is a wooden box that is hung on the wall, with the opening facing outward. Screwdrivers appear to pierce the left and right sides of the box, and act as a dowel to hold red and black dice of varying size on the inside of the box.
Frontal view of the east side of the partition in the main gallery. Six colorful, abstract wall works are hung gallery-style at varying heights and distances The top three are smaller works, while the bottom three are all slightly larger. All 6 pieces show signs of abstraction.
An expansive view of the west side of the gallery, and the wall partition. In the foreground of the photo is a sculpture of a female figure in white and orange tones and sits on a white, square pedestal. Behind the sculpture is an archway that offers a slight view of the West Gallery. To the right of the sculpture is a freestanding white wall with six abstract works hung at varying heights and distances from one another
Frontal view of three walls in the West Gallery. Four pieces hang on the far wall. The wall to the right holds one large scale painting of the gaping maw of a cave rendered in vivid orangey-red tones, and directly in front of it is a white, geometric sculpture that sits on a blue square pedestal. On the left wall, 5 pieces are seen hung on the wall.
Angled view of a gallery wall to the left of two floor-to-ceilings windows. There is a large orange-toned painting on the left, and to the right of the painting is a much smaller painting, with green and black. In front of the wall is a blue pedestal, and on top of it is a white geometric sculpture. In the right of the photo is an orange bust made of polyurethane insulation foam in a glaze case, on top of a square, white pedestal. To the left of this sculpture, on the column separating two windows is a small piece with green and brown tones.
Slightly angled view of the west wall of the West Gallery. To the left are two small black and white prints, and next to them, a larger, somewhat distressed dark image of palm trees. To the right of these pieces are four framed drawings, all featuring colorful, complex circular geometric patterns, of varying sizes.
A frontal view of four framed drawings of various sizes hung on a white wall. On the left, a large drawing features one multi-colored circle, and to the right, two small pieces that also feature a multicolored circle are hung on top of each other. Lastly, to the right is the largest piece, with 7 circles depicted, of varying color and geometric design.
Frontal view of four artworks hung on a white wall. In the center is a large abstract yellow, blue, brown and black painting. To the right is a smaller framed piece, with a red piece of cloth attached to a stick on a white background, resembling a flag of sorts. On the left of the large painting are two pieces on top of one another- the top piece is an abstract form made of worn pieces of a yellow down jacket, and below, a circular brown piece with a paper-like rip through it, with two blue clothespins attached on either side of the rip.
A detail shot of a white sculpture that sits atop a blue pedestal, in the center of the west gallery. In the background is a view of an orange and black painting, acting almost as a backdrop for the sculpture, contrasting from the light, bright foreground.
Photo taken from the entryway of the gallery, looking into the west gallery. On the left wall that separates the west gallery and the entryway, 4 photos are hung, all of children, of varying size and subject matter. To the right, a large piece is seen inside of the West Gallery, and to the right of the photo a painting hanging in the entryway is just barely seen.
Frontal view of the north facing wall of the entryway. To the left, is a large, dark painting with a dark purple background, and light yellow and bright blue long brushstrokes painted vertically, resembling an abstracted view of a tall building. To the right of the painting are two long wooden sticks propped against the wall, as well as a long, paddle-like dark brown object that is also propped against the wall, next to the sticks.
Angled view of the northeast area of the entryway. On the north wall, a large painting is seen, and to the right, three long sculptures are propped against the wall. On the brick east wall, to the right of a large, arched entryway, is a small, white piece with black writing that reads “THIEVES OPERATE IN THIS AREA” in distinctive scrawled, messy handwriting.

Looking Back / The 14th White Columns Annual, installation view, 2024. (North west view of the main gallery. Directly ahead is the north white wall, which has 4 paintings of various sizes installed on it. To the right, a white wall partition divides the east and west side of the main gallery; 3 pieces of art are hung on the visible side of the wall. To the left is the west, white wall, which has a large, arched entryway. To the right of the entryway is a large, square painting, and to the left of the entryway is a large sculpture of a dollhouse balanced on top of a ceramic pot, which stands on top of a wooden pedestal.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (Frontal view of the west-facing side of the freestanding wall in the main gallery, which has three pieces hung on it. Above two of the pieces is an oversized, flat sculpture of a cigarette. To the lower left of the “cigarette” is a sculpture, installed on a white shelf, of a wooden circle that stands upright on a white shelf. It is covered with horizontal and vertical stripes of light green and red paint, as well as smaller, varied, multicolored stripes. To the right of this sculpture is a rugged and abstract mixed media piece, featuring warm tones of red, orange, and brown.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (Frontal view of the west wall in the main gallery, just to the right  of the arched entryway. To the left is a large painting, depicting the United States Capitol Building. The building is partially covered with multicolored abstract brushstrokes, which distort the landscape. To the right of this piece is sculpture of a wooden cane that hangs sideways with a rifle scope attached to the top of it. Directly below this cane, a small postcard is pinned.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (Frontal view of a wall in the gallery There are two paintings: on the left, a larger, symmetrical and abstract painting, with green, brown and yellow tones. The painting is framed in an ornate, large black frame that has a border of abstract curves and edges. To the right of this painting is a smaller painting in a brown wooden frame, that is completely yellow, with a textured, white, circular center.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (View of the northeast corner of the main gallery, with a view of a large and a small abstract painting on the left wall. On the right wall, we see a series of two rows of three drawings in oil pastel, with tones of yellow, white, and black. To the right of this series is a small green and white painting, and further to the right is a small wooden house-like sculpture, almost like a box, that sits on a shelf.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (Frontal view of the east wall of the main gallery. To the left is a series of two rows of three drawings in oil pastel. Each feature three arrows, all pointing in the same direction, two paintings yellow, and the other four, black. To the right of this series is a small painting that is primarily green, with a green triangle protruding from the lower half of the painting, suggesting the shape of a house. To the lower right of this painting is a shelf that holds a wooden sculpture, also houselike, with many layers of wood on it, and a small piece of wood protruding from the top of the box, as if like a chimney.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (View of two walls flanking floor-to-ceiling windows of the main gallery. To the right is the east side of the freestanding wall, and to the left of the photo is the east wall. In the center of the image is an anthropomorphic orange and white sculpture that sits cross-legged on a white pedestal. On the partition, six art pieces hang of varying size and colors, and on the east wall, a series of four abstract, colorful mandala-like paintings hang to the left of a wooden, mixed media sculpture.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (Frontal view of the east wall of the main gallery. To the left, a series of 4 paintings hang two on top of two. Each rectangular frame features a depiction of a circle, all multi-colored and feature varying geometric patterns. To the right of the series is a wooden box that is hung on the wall, with the opening facing outward. Screwdrivers appear to pierce the left and right sides of the box, and act as a dowel to hold red and black dice of varying size on the inside of the box.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (Frontal view of the east side of the partition in the main gallery. Six colorful, abstract wall works are hung gallery-style at varying heights and distances The top three are smaller works, while the bottom three are all slightly larger. All 6 pieces show signs of abstraction.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (An expansive view of the west side of the gallery, and the wall partition. In the foreground of the photo is a sculpture of a female figure in white and orange tones and sits on a white, square pedestal. Behind the sculpture is an archway that offers a slight view of the West Gallery. To the right of the sculpture is a freestanding white wall with six abstract works hung at varying heights and distances from one another.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (Frontal view of three walls in  the West Gallery. Four pieces hang on the far wall. The wall to the right holds one large scale painting of the gaping maw of a cave rendered in vivid orangey-red tones, and directly in front of it is a white, geometric sculpture that sits on a blue square pedestal. On the left wall, 5 pieces are seen hung on the wall.) 

Looking Back / The 14th White Columns Annual, installation view, 2024. (Angled view of a gallery wall to the left of two floor-to-ceilings windows. There is a large orange-toned painting on the left, and to the right of the painting is a much smaller painting, with green and black. In front of the wall is a blue pedestal, and on top of it is a white geometric sculpture. In the right of the photo is an orange bust made of polyurethane insulation foam in a glaze case, on top of a square, white pedestal. To the left of this sculpture, on the column separating two windows is a small piece with green and brown tones.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (Slightly angled view of the west wall of the West Gallery. To the left are two small black and white prints, and next to them, a larger, somewhat distressed dark image of palm trees. To the right of these pieces are four framed drawings, all featuring colorful, complex circular geometric patterns, of varying sizes.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (A frontal view of four framed drawings of various sizes hung on a white wall. On the left, a large drawing features one multi-colored circle, and to the right, two small pieces that also feature a multicolored circle are hung on top of each other. Lastly, to the right is the largest piece, with 7 circles depicted, of varying color and geometric design.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (Frontal view of four artworks hung on a white wall. In the center is a large abstract yellow, blue, brown and black painting. To the right is a smaller framed piece, with a red piece of cloth attached to a stick on a white background, resembling a flag of sorts. On the left of the large painting are two pieces on top of one another- the top piece is an abstract form made of worn pieces of a yellow down jacket, and below, a circular brown piece with a paper-like rip through it, with two blue clothespins attached on either side of the rip.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (A detail shot of a white sculpture that sits atop a blue pedestal, in the center of the west gallery. In the background is a view of an orange and black painting, acting almost as a backdrop for the sculpture, contrasting from the light, bright foreground.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (Photo taken from the entryway of the gallery, looking into the west gallery. On the left wall that separates the west gallery and the entryway, 4 photos are hung, all of children, of varying size and subject matter. To the right, a large piece is seen inside of the West Gallery, and to the right of the photo a painting hanging in the entryway is just barely seen.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (Frontal view of the north facing wall of the entryway. To the left, is a large, dark painting with a dark purple background, and light yellow and bright blue long brushstrokes painted vertically, resembling an abstracted view of a tall building. To the right of the painting are two long wooden sticks propped against the wall, as well as a long, paddle-like dark brown object that is also propped against the wall, next to the sticks.)

Looking Back / The 14th White Columns Annual, installation view, 2024. (Angled view of the northeast area of the entryway. On the north wall, a large painting is seen, and to the right, three long sculptures are propped against the wall. On the brick east wall, to the right of a large, arched entryway, is a small, white piece with black writing that reads “THIEVES OPERATE IN THIS AREA” in distinctive scrawled, messy handwriting.)