Whitney Biennial - Two Works Worth the Tour From Nicole Eisenman and Brendon Fernandes

Brendan Fernandes' "The Master Form" is a large installation of 6 geometric sculptures of identical black coloring on linear, thin edged structures.  The central structure is a large configuration of open squares that remind me of jungle gyms on playgrounds meant for children's innovative climbing and exploration.  Fernandes (b. Kenya 1979 and raised in Canada) was a classically trained ballet dancer. His dancing career was sidelined due to injury.  His creative outlet merged into the visual arts.  "The Master Form" combines the ephemeral art of balletic performance with the sedentary art of sculpture.   Five ballet dancers, 2 women (1 in pointe) and 3 male dancers walk in sync to the gallery of Fernandes' solo work to syncopated snapping of their fingers.  All 5 are attired in black leotards that mesh with the sculptures.  Individualizing the dancers, they adhere to the smaller structures as they mirror or become an extension of the form itself.  There is no other audio and each dancers' movements embrace their inhabited sculpture and create a unique orchestrated measure.  Simultaneously, the dancers enter the "jungle gym" moving in rigid, sharp lines without ever making contact with each other.  This captivating installation brought kinetic energy to innate objects and a heightened sense of strength and composition to movement.
Nicole Eisenman's "Procession" takes up the entire 6th floor terrace, a highly coveted platform for presenting artworks.  Eisenman (b France 1965) is primarily known for her colorful figurative paintings that have an element of exaggeration and humor.  "Procession" is a panorama of massive mixed medium incorporating a video, numerous sculptures of varying sizes and figurations.  Taken collectively, the jaw dropping work is perplexing, engaging, whimsical and political.  The largest sculpture of a male figure on his hands and knees emits steams from his annus sporadically.  There's a  small all white eagle prostate in a too small box with wings folded and eyes shut.  A wooden abstract sculpture on a podium is both seductive and haunting.  There's movement with some of the works such as a fishing pole that bobs with multiple tuna cans.  You're invited to walk amongst the works and a ubiquitous staff member cheerfully "answers" any questions with mainly ambiguous responses.  This work needs no curation other than one's own interpretation but it requires a wandering eye and unflagging engagement.