Monday, October 12, 2026

Visual Preferences (20th Century: 1989)

Margaret Tomkins
Untitled
1989
acrylic on canvas
Tacoma Art Museum, Washington State

Tom Wesselmann
Fast Sketch Still-Life with Abstract Painting
1989
screenprint
Lowe Art Museum, University of Miami

Gerhard Richter
Cologne Poster
1989
offset print
Dallas Museum of Art

John Pearson
Unfolding #2
1989
screenprint
San Jose Museum of Art, California

Andrew Spence
Red, White and Black
1989
aquatint
Lowe Art Museum, University of Miami

Co Westerik
Flower with Raindrops
1989
oil paint, acrylic paint and tempera on canvas
Kunstmuseum, The Hague

Eric Orr
Upper India
1989
oil on canvas
Orange County Museum of Art, Costa Mesa, California

Daniel Pommereulle
1793
1989
lithograph
(Bicentennial of the French Revolution)
Cabinet d'Arts Graphiques
des Musées d'Art et d'Histoire, Genève

Bernard Rancillac
David
1989
screenprint
(Bicentennial of the French Revolution)
Cabinet d'Arts Graphiques
des Musées d'Art et d'Histoire, Genève

Shellburne Thurber
Aunt Anna's House - Stripped: The Pink Study
1989
C-print
Institute of Contemporary Art, Boston

Anne Marie Beretta
Dress
1989
linen
Denver Art Museum

Ursula von Rydingsvard
Five Mountains
1989
cedar
Walker Art Center, Minneapolis

Philip Trager
Arthur Aviles
1989
gelatin silver print
Portland Museum of Art, Maine

Arnold Newman
Helen Frankenthaler
1989
gelatin silver print
San Diego Museum of Art

Leonid Sokov
Dog with World
1989
wood and found objects
Nasher Museum of Art, Durham, North Carolina

Gail Thacker
Mark Morrisroe in Bed
1989
C-print
Institute of Contemporary Art, Boston

from Ischia

Noble are the plans of the shirt-sleeved engineer,
but luck, you say, does more. What design could have washed
          with such delicate yellows
     and pinks and greens your fishing ports

that lean against ample Epomeo, holding on
to the rigid fold of her skirts? The boiling springs
          which betray her secret fever,
     make limber the gout-stiffened joint

and improve the venereal act; your ambient peace
in any case is a cure for, ceasing to think
          of a way to get on, we
     learn to simply wander about

by twisting paths which at any moment reveal
some visual as an absolute goal; eastward, perhaps,
          suddenly there, Vesuvius,
     looming across the bright bland bay

like a massive family pudding, or, around
a southern point, sheer-sided Capri who by herself
          defends the cult of Pleasure,
     a jealous, sometimes cruel, god.

– W.H. Auden (1948)