Whitney Biennial 1991

Apr 2–June 30, 1991

The Whitney Biennial 1991 was curated by Richard Armstrong, John G. Hanhardt, Richard Marshall, and Lisa Phillips.

Installation photography

Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Cy Twombly, Winter’s Passage (Luxor) (1985–90); Joan Mitchell, Champs (1990). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Joseph Santore, The ellow Painting (1988–89); Donald Lipski, Untitled #91-8 (1991); Mike Kelley. Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Nayland Blake, Restraint #6 (Ankle, Shelf, Mirror) (1989); Nayland Blanke, Work Station #5 (1989). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Roy Lichtenstein, Interior with African Mask (1991); Roy Lichtenstein, Interior with Mirrored Wall (1991); Chuck Close, April (1990–91). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Robert Rauschenberg, Yellow Visor (1989); Frank Stella, Watson and the Shark I (1991); Robert Rauschenberg, Applachian Double Latch Spring Glut (1989). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Philip Pearlstein, Fox, Fish, Models and Wooden Lady (1991); Ellsworth Kelly, Green Curve with White Panel (1989); Cy Twombly, Untitled (1983–90); Roy Lichtenstein, Interior with Mirrored Wall (1991); Chuck Close, April (1990–91). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Bruce Nauman, Andrew Head/Andrew Head Stacked (1990); Chuck Close, Bill (1990); Chuck Close, April (1990–91). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Pat Steir, Curtain Waterfall (1991); Pat Steir, Sixteen Waterfalls of Dreams, Memories, and Sentiments (1990); Joan Mitchell, Champs (1990). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Julian Schnabel, Self Portrait with Champagne Glass (1987–90); Julian Schnabel, Golem (1989). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). Julian Schnabel, Golem (1989). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). Donald Lipski, Dirt Ball (1991). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Celia Alvarez Muñoz, Tu y Yo (1990); Celia Alvarez Muñoz, Ella y El (1990); Celia Alvarez Muñoz, Tu y Yo (1990). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Kiki Smith, Untitled (1990); Philip Smith, Epiphany II (1990); Philip Smith, Roman Conversation (1990). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Roni Horn, Thicket No.2 (1990); Peter Halley, The Moment Passed (1989); Mark Tansey, Wheel (1990); Mark Tansey, Bridge Over the Cartesian Gap (1990). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Jennifer Bartlett, Earth (1990); Jennifer Bartlett, Air (1990); Jennifer Bartlett, Fire (1990); Jennifer Bartlett, Water (1990). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Robert Rauschenberg, Appalachian Double Latch Spring Glut (1989); Philip Pearlstein, Fox, Fish, Models and Wooden Lady (1991); Philip Pearlstein, Model Posing with Unfinished Painting (1990). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Ed Moses, Spectra Tres Ojos (1989); Ed Moses, Kudjur (1990–91); Pat Steir, Curtain Waterfall (1991). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: David Salle, E.A. J.A. (1990); Allen Ruppersberg, The Gift and the Inheritance (1989). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: floor: Mike Kelley, Untitled (1990); wall left to right: series Empathy Displacement: Humanoid Morphology (2nd and 3rd Remove), 1990(Panels: #1, #2;#7;#9;#11;#9;#11;#14;#15). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). Vito Acconci, Convertible Clam Shelter (1990). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: John Coplans, Self Portrait (1990); John Coplans, Self Portrait (1990); Alex Katz, Black Brook 4 (1989). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). David McDermott and Peter McGough, Les Recréations Scientifiques (1884, 1990). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Carrie Mae Weems, Untitled (1990); Carrie Mae Weems, Untitled (1990). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Keith Haring, Matador (1989); Keith Haring, Untitled (1989). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). Jessica Stockholder, Recording Forever Pickled #2 (1991). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). Jim Shaw, My Mirage (1986–90). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Adam Fuss, Untitled (1990); Adam Fuss, Untitled (1990); Adam Fuss, Untitled (1990); Adam Fuss, Untitled (1990); Larry Johnson, Untitled(Winter Me) (1990); Larry Johnson, Untitled (Jesus+1) (1990). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). GROUP MATERIAL, AIDS, Timeline (1989–91). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Joseph Glasco, Big Green (1990); Philip Pearlstein, Models Posing with Unfinished Painting (1990); Joseph Glasco, 001 (1990). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Laurie Simmons, Sitting Microscope (1991); Eric Fischl, On the Steps of the Temple (1989); Eric Fischl, In the Temple (1989); center: Roni Horn, Thicket No.3: Kafka’s Palindrome (1991). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). Adam Fuss, Untitled (1990). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Lauri Simmons, Sitting Microscope (1991); Ellen Phelan, Summer Light—Morning(Second Version) (1989); Robert Gober, Untitled (1990). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). From left to right: Thomas Lanigan Schmidt, Incomplete caress (1989–90); Thomas Lanigan Schmidt, Olympio (the Naked Maho) (1989–90); Thomas Lanigan Schmidt, Platonic Love(Mozart and Candy Cubism) (1989–90); Luis Jimenez, Border Crossing—Cruzando El Rio Bravo (1989). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). John Miller, Echo and Narcissus (1990). Photograph by Geoffrey Clements
Installation view of the 1991 Biennial Exhibition (Whitney Museum of American Art, New York, April 2–June 23, 1991). Christian Marclay, Tape Fall (1989–91). Photograph by Geoffrey Clements

In the News

“. . . a Biennial bigger, more eclectic and more eager to please, and one that prudently claims not to display the best works but ‘to represent in a broad way some of the most notable characteristics of American art today.” —The New York Times

“. . . this year’s selections do not turn away from mainstream film making; they confront it with strong, accessible, artistically dazzling messages.” —The New York Times

More from this series

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