The Every Woman Biennial Serenades New York City and Los Angeles with an All-Women Art Biennial
The 2019 Biennial: "I Wanna Dance With Somebody" comes as a response to the awakening representation of women artists.
This is the third iteration of Christine Finley’s acclaimed women’s art exhibition. “I Wanna Dance With Somebody” is a rally cry for self identifying women artists to cross-pollinate with each other across a wide variety of mediums, generations, as well as racial and ethnic backgrounds. The aim of bringing together so many creative voices is to sing a collective song that celebrates the contributions of female artists and marks a moment in our communal trajectory. The Every Woman Biennial is committed to creating not only an exhibition, but a new consciousness in the world of art which favors encouragement, connection, inspiration and love.
The Every Woman Biennial, formerly The Whitney Houston Biennial, debuted in 2014 with 86 artists as a single day event and grew to a two-week event featuring 195 artists in 2017. In 2019 the WHB will be expanding from New York to include Los Angeles. The general framework of the exhibit consists of visual artists shown “salon style” including but not limited to: painting, photography, installation, sculpture, video art, textile, multimedia, performance, dance, musical acts, poetry readings, theater presentations, and a film festival.
Feel free to reach out to us with any questions. We are very friendly and always open to  interesting ideas, student work or opportunities to be part of an event.
Coverage has been wide and ample over the years - proving that there is no better time for an all-women biennial that pays attention to notable and upcoming artists.
“Forget the Whitney Biennial, get yourself to the second edition (the first was in 2014) of the Whitney Houston Biennial in New York, a showcase made up of entirely women artists. A cheeky play on the long-established mega biennial, which is on at the same time, this alternative art survey seeks to reinforce the (gradually) increasing awareness by art institutions of the need for much greater female representation. ”
“Whitney Houston Biennial 2017 Features 125 Female Artists in New York City
The original plan for the 2017 installment was to feature 48 to 55 artists, but after totaling everything up, the organizer Christine Finley wound up with 125.”
“In New York’s abundance of art fairs and gallery shows, male artists have always tended to outnumber female artists. One show this Spring, however, sought to change this gender imbalance: The Whitney Houston Biennial and now The Every Woman Biennial. ”
“By now, everyone knows the art world isn’t the easiest place to be a woman. Every year, seminal female artists are left out of museum retrospectives and gallery exhibitions in lieu of their over-shown and overpaid male counterparts. Though it has gotten better, it’s still not enough. That’s why artist and curator, Christine Finley, has put together her own all-female version of The Whitney Biennial. A survey of female artists in every medium from across the globe, The Whitney Houston Biennial is Finley’s answer to The Whitney’s yearly exhibition that showcases the world’s most promising young artists. The problem is, countless women are always left out. Not this year.”
“Three years ago, artists Christine Finley and Eddy Segal were talking about the Whitney Biennial. If she were curator, said Finley (known professionally as C Finley), she’d mix things up by filling three floors with art by women. ‘It’d be called the Whitney Houston Biennial!’ Segal declared. While their exchange was only half-serious, Finley realised it was a solid idea. Two months later, she launched the inaugural Whitney Houston Biennial as a four-hour happening, where work by 85 female artists filled a 3,000 sq ft Brooklyn suite. Finley has been planning its second iteration, which kicks off this week, ever since.”
“A Whitney Houston-Inspired Art Show Puts Women Center Stage ”
“The Whitney Houston Biennial Is Not Messing Around
“The Whitney Houston Biennial Is Here To Make Your Feminist Art Dreams Come True
“Finding Light (And An Ode To The Ass) In The 2017 Whitney Houston Biennial
“No surprise this underdog biennial had already gotten TV and press coverage before it opened, so the line to get in was a block long. As I made my way into the exhibition space with my family, our eyes/hearts/minds became full of the glorious spectacle that is this all-female group show. The exhibition space itself is small but the floor-to-ceiling, salon-style hanging is democratic and accommodates humans of all sizes. My son and other children I saw there were thrilled by the work at their eye level.
“If the thought of another Whitney Biennial bores you, there’s always this year’s Whitney Houston Biennial, a women-artists-only response curated by Christine Finley, a young artist who works in geometric abstraction. “The aim of bringing together so many creative voices is to sing a collective song that celebrates the contributions of pioneer female artists and marks a moment in our communal trajectory,” ”
“New York City is an incomparably brimming hub for any and all pseudo-creative types, hyper-real and saturated with every conceivable dramatic, artistic, musical and miscellaneous creative performance you never knew you were missing. ”
“There were many alternatives to the Whitney Biennial this week, but the most lauded would have to be the one with the most enigmatic name: The Whitney Houston Biennial: I’m Every Woman. Curated by artist Christine Finley, this show was exactly what it sounds like: an all-female-artist alternative to the established Whitney Biennial. Since so much of the art world is a boy’s club, it seems especially necessary — and exciting — to have a separate space where female artists are celebrated.
“Art Matters | A Biennial With Another Whitney in Mind
“Whitney Houston: Feminist Art Icon -
Challenging what they see as the sexism of the Whitney Biennale, a group of female artists come together under the banner of a pop diva.
“A different kind of Whitney: Show puts feminist twist on the Biennial