:: Reward ::
John Waters on His Lifestyle in Artwork
by Stephen Mooallem
Published December 14 in Harpers Bazaar
Excerpt: For pretty much 6 decades, John Waters—the filmmaker behind subversive touchstones like Pink Flamingos (1972), Polyester (1981), and Hairspray (1988) the creator of nonfiction tomes like Shock Benefit and Position Designs and the novel Liarmouth a stand-up comedian, spoken-term performer, and prolific photographer, sculptor, and blended-media polymath—has been not just creating artwork but also accumulating it. Waters’s collection, which he has been amassing because he was in his teens and has installed in the course of his residences in New York, San Francisco, and Baltimore, consists of some of the most significant visible artists of the postwar period—people like Andy Warhol, Cy Twombly, and Diane Arbus—alongside boundary pushers like Nan Goldin, Cindy Sherman, Mike Kelley, Richard Tuttle, and the Swiss duo of Peter Fischli and Eric Weiss.
The functions in Waters’s assortment mirror lots of of his own pursuits as an artist—in shock, humor, provocation, and pop society. But like his videos, they have a beating heart beneath them all: an knowing of what it suggests to be an outsider or come to feel various, a yearning for an acceptance that will never ever occur, and a glimpse of the strength that can be gathered from discovering neighborhood by being gleefully out of move with the earth.