Whitney Biennial 1983

Mar 15–May 29, 1983

The Whitney Biennial 1983 was curated by John G. Hanhardt, Barbara Haskell, Richard Marshall, and Patterson Sims.

View the full exhibition catalogue at the Internet Archive.

Installation photography

Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Julian Schnabel, Homo Painting (1981); Mike Glier, Nuclear Accountability: Blast Me (1983); Nancy Graves, Acordia (1982). Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Julian Schnabel, Homo Painting (1981); Julian Schnabel, Unexpected Death of Blinky Palermo in the Tropics. Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Robert Mangold, + Painting: 3 Panels; Jean-Michel Basquiat, Dutch Settlers; Jackie Winsor, Burnt Paper Piece (1980–82); Robert Mangold (1981). Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Robert Mangold, Three Red X Within X (1981); Keith Haring, Untitled (1983); Leon Golub; Frank Stella, Blyvoors (1980). Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Italo Scanga, Head; Keith Haring, Installation (1983); Max Neuhaus, Time Pieces. Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Mark Tansey, A Short History of Modernist Painting (1982); Lance Kiland, Scrambler, Cocoon, Upper Hand (1982); Mark Tansey, Action Painting (1982). Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). Robert Longo, The Golden Children/Love Police, Engines in Us (The Doors) (1982–83). Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Jackie Winsor, Exploded Piece (1980–82); Leon Golub, Interrogation III (1981); Jackie Winsor, Burnt Paper Piece; Leon Golub, Interrogation II (1981). Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Susan Rothenberg, 10 Men (1982); Susan Rothenberg, The Creek (1982). Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Frank Stella, Eastern Rand (1982); David Salle, Poverty Is No Disgrace. Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Nancy Graves, Acordia (1982); Joan Mitchell, Edrita Fried; Nancy Graves, Conjunctive & Conjuncture. Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Robert Colescott, A Legend Dimly Told; Robert Colescott, Listening to Amos & Andy; Robert Colescott, Auver sur Oise, Crow in Wheat Field. Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Oliver Jackson, Untitled (1981); Joe Zucker, Ivan Koloff vs Executioner “One” (1981). Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). T.L. Solien, Untitled (1983). Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Eric Fischl, Inside Out (1982); William Crozier, Aching (1980–81); Eric Fischl, The Old Man’s Boat and Old Man’s Dog; William T. Wiley, In the Name of: Not to Worry It’s Juxtaposition; William T. Wiley, Harpoon for a Dreamer (1981). Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Jasper Johns, Between the Clock and the Bed (1981); Jasper Johns, In the Studio (1982); Philip MaBerry; Ellen Brooks, Guarded Future (1982); Louise Bourgeois, Shredder (1983). Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: George Rodart, Nocturnal Wonder (1981); Mark Tansey, A Short History of Modern Painting (1982); Lance Kiland, Scrambler, Cacoon; The Upper Hand. Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Melissa Miller, Northern Light (1982); Melissa Miller, Untitled (1982); Cindy Sherman, Untitled (1982); Judy Rifka, Museum Wallpaper (1983). Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Pat Steir, Chrysanthemum: 3 Panels (1981); Pat Steir, Cherry Blossoms in Winter: 3 Panels. Photograph by Geoffrey Clements
Installation view of the 1983 Biennial Exhibition (Whitney Museum of American Art, New York, March 15–May 29, 1983). From left to right: Jonathan Borofsky, Man in Space II at 2,783,196 and 2,783.197 (1982); Jonathan Borofsky, Flying Figure, No. 3 (1982). Photograph by Geoffrey Clements

In the News

“Some of the lions were baring their teeth at the Whitney Biennial [. . .] though it must be said that a rigorous course of dentistry would not have been amiss.” —The Burlington Magazine

“There is [. . .] a considerable tautening in the character of the present Biennial. Not too many artists are involved, for one thing. For another, there is a serious attempt to deal both with photography as it overlaps with art and with video.” —The New York Times

“Seen through the lens of the Whitney Museum’s 1983 Biennial Exhibition, today’s photography would seem to be almost totally preoccupied with questions of personal identity and the effects of mass media.” —The New York Times

“. . . no one who watches the right screens in this Biennial can come away with the complaint that video is boring.” —The New York Times

More from this series

Learn more about the Whitney Biennial, the longest-running survey of American art.