The Whitney Museum of Modern Art, founded in 1920 by Gertrude Vanderbilt Whitney, has presented biennial surveys of contemporary modern American art, selected by its curatorial staff, for over 60 years. This volume contains a study of the 1989 Exhibition, including art, film and video selections.

Whitney Museum of American Art: 1989 Biennial Exhibition

Arts & Photography

Lisa Phillips

Richard Marshall

Richard Armstrong

John G. Hanhart

Collections, Catalogs & Exhibitions

WHITNEY MUSEUM OF ART.

During the past forty years, film director John Waters - once crowned "The Pope of Trash" by William Burroughs and now hailed as the genius behind Broadway's smash-hit musical Hairspray - has moved from the margins of culture to the mainstream. Ever subversive and happy to raise the issues that polite society works hard to suppress, Waters has helped to liberate us from social restrictions and norms. In that process, he has created hilarious and provocative filmed entertainment. And since he picked up a still camera more than ten years ago, he has reinvented himself as a visual artist. Scrutinizing videotapes of over-the-top Hollywood movies and forgotten art films that had long obsessed, amused, and fascinated him, Waters started to photograph video stills off his television screen. The moments that he captured became the raw material for artworks that Waters began to call his "little movies." In these photographic sequences, Waters continues to skewer cultural symbols and stereotypes, and to elaborate on the cultural and subcultural themes that have been central to all his work: race, sex, sanctimony, glamour, class, family politics, celebrity, religion, the media, and the allure of crime. John Waters : Change of Life, published on the occasion of Waters's first major exhibition, presents a survey of his still photographic works and stills from his earliest and seldom seen no-budget films: Hag in a Black Leather Jacket, Roman Candles, and Eat Your Makeup. The book also includes images of objects from Water's personal collection that reflect his ongoing fascination with photographic imagery, the mass media, and some of the more outrageous expressions of American popular culture. Accompanying these artworks, film stills, and quirky images are contributions by cultural and art historians that zero in on Waters's cinematic mind and photographic eye, and on surprising artworks that speak for themselves in more subtle and complex ways than might ever be expected.

John Waters: Change Of Life

Marvin Heiferman

Gary Indiana

Individual Artists

Harry N. Abrams

Vital Signs: Organic Abstraction from the Permanent Collection

David Salle

Janet Kardon

Univ Pennsylvania Inst. of Contemporary Art

Colorado Manhunt

Jenna Night

With his K-9’s help,\ncan he save the son he didn’t know existed?\nRescuing a kidnapped child is part of the job for search-and-rescue K-9 handler Patrick Sanders—but this time it’s his son. Now Patrick and his furry partner must work with his high school love, Jennie Wilcox, to shield the little boy he just learned about. But with someone targeting them, will Patrick and Jennie survive to face their painful past and become a family?\nFrom Harlequin Love Inspired Suspense: Courage. Danger. Faith.

Desert Rescue (K9 Search + Rescue) Love Inspired Suspense Large Print)

Love Inspired Suspense

The extensive oeuvre of American painter Carroll Dunham has infused the discourse of representation versus abstraction with new life, while simultaneously pointing to a number of new directions in 20th-century painting, such as surrealism, action painting, abstract painting, and pop art. His unusual, original color compositions and independent use of forms and materials had a significant influence on contemporary artists like Fred Tomaselli and Matthew Ritchie. In Dunham's works, pictorial elements reminiscent of cartoons became recognizable details within an enlivened, abstract picture surface as early as the beginning of the 80s. Later in that decade, Dunham turned to larger formats, painting the expanses of his canvases with visually constant forms in fluid gesture: bodily shapes, reduced to pictographs, appeared repulsive and hairy, resembling tumors, teeth, or lips, in expressionist colors and with an impressive painterly quality. Recently, Dunham's pictures have become distinctly more figurative, displaying aggressive male and female caricatures, with buildings, planets, and boats becoming additional vehicles of human emotions and unbridled primary energies.

Carroll Dunham: Paintings

A.M. Homes

Klaus Kertess

Sanford Schwartz

Carroll Dunham

Hatje Cantz Publishers

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Books by Lisa Phillips