Come As You Are: Art of the 1990s

Transcription

EXHIBITION AT A GLANCE

Organized by Alexandra Schwartz, Curator of Contemporary Art,
Montclair Art Museum

Approximately 60 works by 45 artists including installations, paintings,
photographs, drawings, prints, sculpture, video and digital art

Catalogue: the first comprehensive scholarly consideration of 1990s art,
co-published with the University of California Press

4,500-5,000 square feet

$50,000 participation fee, plus prorated shipping not to exceed $50,000

Traveling January 2015 - January 2016

Enclosed:
o
Working Checklist
o
Catalogue Specifications
Aziz + Cucher
(Anthony Aziz, b. 1961 USA
and Sammy Cucher, b. 1958 Peru)
Man with a Computer, 1992
From the series Faith, Honor and Beauty
C-Print
86 x 38 in.
Collection of the Indianapolis Museum of Art
Purchased from the artists by the Indianapolis
Museum of Art in 2012, 2012.126
The Artists
Doug Aitken (born 1968, USA)
Laylah Ali (born 1968, USA)
Janine Antoni (born 1964, Bahamas)
Aziz + Cucher (Anthony Aziz, b. 1961 USA and Sammy
Cucher, b. 1958 Peru)
Alex Bag (born 1969, USA)
Matthew Barney (born 1967, USA)
Michael Ray Charles (born 1967, USA)
Mark Dion (born 1961, USA)
Jeanne Dunning (born 1960, USA)
Andrea Fraser (born 1965, USA)
Ellen Gallagher (born 1965, USA)
Felix Gonzalez-Torres (born 1957 Cuba - died 1996 USA)
Jodi.org (Joan Heemskerk, b. 1968 Netherlands
and Dirk Paesmans, b. 1965 Belgium)
Glenn Kaino (born 1972, USA)
Karen Kilimnik (born 1955, USA)
Byron Kim (born 1961, USA)
Nikki S. Lee (born 1970, South Korea)
Glenn Ligon (born 1960, USA)
Sharon Lockhart (born 1964, USA)
Daniel Joseph Martinez (born 1957, USA)
Julie Mehretu (born 1970, Ethiopia)
Mariko Mori (born 1967, Japan)
Vik Muniz (born 1961, Brazil)
Prema Murthy (born 1969, USA)
Mark Napier (born 1961, USA)
Shirin Neshat (born 1957, Iran)
Keith + Mendi Obadike (born 1973, USA)
Manuel Ocampo (born 1965, Philippines)
Catherine Opie (born 1961, USA)
Gabriel Orozco (born 1962, Mexico)
Pepón Osorio (born 1955, Puerto Rico)
Laura Owens (born 1970, USA)
Jorge Pardo (born 1963, Cuba)
Jennifer Pastor (born 1965, USA)
Elizabeth Peyton (born 1965, USA)
Jason Rhoades (1965-2006, USA)
Beverly Semmes (born 1958, USA)
Shahzia Sikander (born 1969, Pakistan)
Gary Simmons (born 1964, USA)
Frances Stark (born 1967, USA)
Diana Thater (born 1962, USA)
Rirkrit Tiravanija (born 1961, Argentina)
Mark Tribe (born 1966, USA)
Kara Walker (born 1969, USA)
Fred Wilson (born 1954, USA)
Andrea Zittel (born 1965, USA)
Marina Zurkow (born 1962, USA)
Come As You Are : Montclair Art Museum
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The Exhibition
Come As You Are: Art of the 1990s is the first major American museum survey to historicize the art of this pivotal
decade. Showcasing approximately 60 works by 45 artists, the exhibition includes installations, paintings, sculptures,
drawings, prints, photography, video, and digital art. Come As You Are offers an overview of art made in the United
States between 1989 and 2001—from the fall of Communism to 9/11—and is organized around three principle themes:
the so-called “identity politics” debates; the digital revolution; and globalization. Its title refers to the 1992 song by
Nirvana (the quintessential 90s band, led by the quintessential 90s icon, Kurt Cobain); moreover, it speaks to the issues
of identity that were complicated by the effects of digital technologies and global migration. The artists in the exhibition
made their initial “point of entry” into the art historical discourse during the 1990s and reflect the increasingly
heterogeneous nature of the art world during this time, when many women artists and artists of color attained
unprecedented prominence.
The 1990s was a decade of tremendous social, political, and economic change. The period’s defining event was arguably
the digital revolution, which altered everything from everyday communication, to international commerce, to global
geopolitics. In particular, the rise of the Internet dramatically increased the volume of visual stimuli and information
circulating throughout the world, which people struggled to navigate and process. The nascent 24-hour news cycle
magnified a chain of events that rocked the United States during this decade. These included: the economic recession
from 1987 to the mid-90s; the fall of the Berlin Wall in 1989; the First Gulf War, the Clarence Thomas-Anita Hill
controversy, the Rodney King beating, and the Los Angeles riots in 1991-92; the election of Bill Clinton in 1992; the
NAFTA treaty in 1994, the last of which helped precipitate the spike in economic globalization and what Thomas
Friedman identified as the fin-de-siècle “flattening of the world” by new technologies and multinational corporations;
the rise of the dot.com bubble in the mid-90s and subsequent burst in 2000; and the terrorist attacks of September 11,
2001. Contemporary artists grappled with the effects of these events, often addressing them directly, but also situating
them within the context of changes particular to the art world, such as the “culture wars” surrounding artistic freedom
and censorship; the impact of new media (video, sound, and digital art) on artistic practice; and the expansion of the
global art market, with its explosion of art fairs and biennials.
The linguistic concept of “chaotic input” presents a useful metaphor for thinking about the 1990s and its art. Referring to
the process by which children acquire language through synthesizing dissonant information, this term (which lends its
name to the catalogue’s overview essay) aptly describes the cacophonous culture of the 1990s, and artists’ attempts to
make sense of it. The three central themes explored in Come As You Are may be traced chronologically: “identity
politics” dominated early 90s art; the digital revolution: the mid-90s; and globalization: the late 90s. Yet the exhibition
proposes that the single most important development of the decade was the proliferation of new technologies, which
transformed all aspects of contemporary life, including the production of, discourse around, and market for art. While
the rise of Internet made it possible for artists to disseminate their work worldwide simply by creating a website, it
allowed galleries, auction houses, and collectors to buy and sell work on an accelerated, newly global scale. New
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technologies also contributed to the increased mobility (both virtual and physical) of artists, collectors, curators, and
critics, resulting in the exponential proliferation of not only global biennials and art fairs, but also residencies and other
international exchanges, throughout the decade. Like most revolutions, the dawn of the digital age brought both
innovation and seeming retrenchment. The 1990s saw, simultaneously, both radical experimentation with new media
art, and a return to representational painting; both the rise of participatory art operating outside the realm of
commerce, and the prodigious growth of the global art market; both a democratization of the art world and an
increased elitism. Come As You Are argues that amidst, and indeed because of, these paradoxes, the 1990s constituted a
turning point for the institution of art itself.
Opie, Catherine (born 1961, USA)
Richard and Skeeter, 1994
Chromogenic print, Ed. of 8 + 2 AP
20 x 16 inches
Montclair Art Museum,
Gift of Patricia A. Bell, 2004.2.1
Lee, Nikki S. (born 1970, South Korea)
Hispanic Project 25, 1998
Fujiflex print
16 x 20 in.
Ann and Mel Schaffer Family Collection
Mehretu, Julie (born 1970, Ethiopia)
Untitled, 2000
Ink, Colored Pencil, and Cut Paper on Mylar
18 x 24 inches (45.7 x 61 cm)
Collection of Alvin Hall
The artists who emerged during this decade likewise represented a crucial transition in artistic practice, and their works
featured in Come As You Are tend to engage with at least two of the exhibition’s three central themes. Aziz + Cucher’s
photograph Man with a Computer (1992), for example, presents a statuesque, nude man holding an early Apple laptop;
in a play on the Greek idols the figure evokes, however, the artists use an industrial precursor to Photoshop to “erase”
his masculine characteristics. Laylah Ali’s allegorical Greenhead paintings (1996-2005) cite news images of international
racial and ethnic conflict to address both the growing ubiquity of the global media and issues of difference at home and
abroad. Mark Tribe’s Traces of a Constructed City (1996)—an early example of Internet Art, a genre specific to the 1990s
and early 2000s—maps the proliferation of new building projects in reunified Berlin. Julie Mehretu’s Untitled (2000)
paintings, dizzyingly complex images of the new urbanism, evoke myriad references including digital architectural
rendering technologies, which the artist uses as part of her artistic process. Though these artists use vastly different
approaches, they share a common preoccupation with the interrelationships of identities, technologies, and global
exchanges.
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Come As You Are is designed as a concise evaluation of the period, focusing on a discrete number of artists whose work
critically engages with the decade’s most salient issues. While the inclusion of both American- and foreign-born artists
who worked in this country gives the exhibition an international scope, the decision to focus on art created in the United
States was two-fold. During the course of research, it became clear that 1990s art in America was quite distinct from
that of 1990s Europe, where the demise of the Soviet bloc dominated the discourse, or other continents, where
globalism had not yet united the art world as it has today. Indeed, the 90s may represent the last decade when an “allAmerican” art historical survey is conceivable; in the 2000s, the contemporary art world became inarguably global.
Additionally, this choice honors the Montclair Art Museum’s history of important exhibitions critically assessing the
legacy of art made in America. During the 1990s, Los Angeles came to rival New York as a US capital of contemporary
art, a geographical shift reflected in the checklist. Similarly the 1990s witnessed a shift in the demographics of the art
world, which is reflected in the strong representation of women artists and artists of color in the exhibition. Come As
You Are also includes a significant number of works by lesser-known artists whose work is ripe for rediscovery.
The art historical discourse on the 1990s is nascent, beginning to coalesce only within the past few years. This is due in
part to the fact that this history itself is recent, but may be further explained by other important factors. In the late
1990s, much of the cultural focus was on the new millennium; therefore, very few exhibitions, histories, and other
critical assessments of the decade occurred. Additionally, though the 90s may, from today’s post-9/11, Great Recession
vantage point, be perceived as a faraway age of innocence, many of the dominant issues and debates of the Obama era,
surrounding social equality, digital technologies, and the global economy, underwent crucial transformations during that
decade. Our understanding of these phenomena is still evolving, yet these issues remain urgent today, making this
exhibition’s historical evaluation of the 1990s particularly relevant and resonant.
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The Catalogue
The exhibition has an ambitious scholarly agenda, and will be accompanied by the definitive catalogue on the 1990s to
date. Co-published with the University of California Press and produced in collaboration with Marquand Books, the
catalogue will include an overview essay by the curator and eight short, thematic essays by some of today’s foremost
emerging and mid-career contemporary art historians. The confirmed essayists are: Huey Copeland (Northwestern
University), Jennifer González (University of California, Santa Cruz), Suzanne Hudson (University of Southern California),
Joan Kee (University of Michigan), Kris Paulsen (The Ohio State University), Paulina Pobocha (The Museum of Modern
Art), and John Tain (Getty Research Institute). The decision to enlist younger scholars was calculated to ensure fresh
perspectives on the era; while the essayists’ sensibilities were shaped during the 1990s, none was actively involved in
that decade’s art scene, allowing them an additional measure of critical and historical distance. Additionally, the
catalogue will include five brief interviews with some of the major figures “on the ground” in the 1990s art world, and a
comprehensive chronology of the decade’s key artistic, political, and cultural events.
Note: For more details, please see attached Catalogue Specifications.
The Curator
Alexandra Schwartz is the first Curator of Contemporary Art at the Montclair Art Museum. There she established the
New Directions exhibition series of emerging and mid-career artists, launching in Fall 2011 with Marina Zurkow: Friends,
Enemies and Others, and continuing with Saya Woolfalk: The Empathics (2012) and Jean Shin: Host (2013). Other
exhibitions for Montclair include New Media/New Forms (2012), Come As You Are: Art of the 1990s (2014), and New
Century Modern: Contemporary Artists Examine Design (2016). From 2004 to 2010 she was on the curatorial staff of The
Museum of Modern Art, serving as the coordinator of the Modern Women’s Project, a curatorial initiative to increase
scholarship on women artists. In this role she was the co-editor of the book Modern Women: Women Artists at The
Museum of Modern Art (with Connie Butler, 2010) and curator of the exhibitions Mind and Matter: Alternative
Abstractions, 1940 to Now at MoMA (with Sarah Suzuki, 2010) and Modern Women: Single Channel at MoMA PS1
(2011). She is the author of Ed Ruscha’s Los Angeles (MIT Press, 2010) and the editor of a collection of Ruscha’s writings,
Leave Any Information at the Signal: Writings, Interviews, Bits, Pages (MIT Press, 2002). A contributor to various
journals, anthologies, and exhibition catalogs, she has taught at Columbia University, the University of Michigan, and
Montclair State University, and in the Education Departments at MoMA and the Whitney Museum of American Art. She
received a B.A. from Harvard University and a Ph.D. from the University of Michigan.
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The Tour
Come As You Are will tour nationally. We are currently in discussions with venues on the East and West Coasts, and in
the Midwest and the South. Dates are approximate and will be determined when venue bookings and shipping
arrangements are finalized for the tour.
TOUR SCHEDULE*
Montclair Art Museum
Montclair, NJ
September 21, 2014 through January 11, 2015
Touring Venue #2
February to May 2015
Telfair Museum
Savannah, GA
June 12 through September 20, 2015
University of Michigan Museum of Art
Ann Arbor, MI
October 17, 2015 through January 31, 2016
Exhibition Rental Fee
$50,000
Shipping Costs
Pro-rated among tour venues, not to exceed $50,000
Space Requirement
4,500 – 5,000 square feet inside a secure, maintained building
Supplementary Materials
Educational and marketing materials with exhibition graphic identity including didactics (wall texts and label copy), audio
tour, exhibition website, and other materials.
*Available for touring through 2016, for approximately three-month segments. Please contact Alexandra Schwartz at the
Montclair Art Museum for availability, terms, and conditions.
[email protected]
973-259-5125
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WORKING CHECKLIST (subject to change)
1.
Aitken, Doug (born 1968, USA)
Monsoon, 1995
Color film, sound, transferred to digital video
6:43 min. loop
Courtesy of 303 Gallery, New York; Victoria Miro Gallery,
London; Galerie Eva Presenhuber, Zurich; Regen Projects,
Los Angeles © Doug Aitken
2.
Ali, Laylah (born 1968, USA)
Untitled, 2000
Gouache and pencil on paper
19 x 13 in. (48.3 x 33 cm)
Collection of A.G. Rosen
3.
Untitled, 2000
6 x 4.5 in. (15.2 x 11.4 cm)
4.
Untitled, 2000
8 x 5 in. (20.3 x 12.7 cm)
Last Updated: February 25, 2014
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5.
Antoni, Janine (born 1964, Bahamas)
Lick and Lather, 1993
Two self portrait busts: one chocolate and one soap
that have been either licked or lathered by the artist
24 x 16 x 13 in. (60.96 x 40.64 x 33.02 cm)
Courtesy of the Artist and Luhring Augustine, NY
6.
Aziz + Cucher
(Anthony Aziz, b. 1961 USA and Sammy Cucher, b. 1958
Peru)
Man with a Computer, 1992
From the series Faith, Honor and Beauty
C-Print
86 x 38 in.
Collection of the Indianapolis Museum of Art
Purchased from the artists by the Indianapolis Museum of
Art in 2012, 2012.126
7.
Bag, Alex (born 1969, USA)
Untitled Fall ’95, 1995
57 min, color, sound
Courtesy of Team Gallery and Electronic Arts Intermix
(EAI), New York
8.
Barney, Matthew (born 1967, USA)
CREMASTER 2: The Queen’s Exposition, 1998
Four gelatin silver prints in acrylic frames.
From left to right: (i) 28 x 28 x 1 1/2 in (71.1 x 71.1 x 31.8
cm); (ii) 42 x 34 x 1 1/2 in. (106.7 x 86.4 x 3.8 cm); (iii and
iv) 28 x 28 x 1 1/2 in. (71.1 x 71.1 x 3.8 cm) each
The JPMorgan Chase Art Collection
9.
Barney, Matthew (born 1967, USA)
Cremaster 4, 1994
Barbara Gladstone Gallery
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10. Charles, Michael Ray (born 1967, USA)
(Forever Free) Have A Nice Day!, 1997
Acrylic latex, stain & copper penny on paper
60 x 35 3/4 inches
Framed: 67 1/4 x 42 3/4 x 2 inches
Collection George Horner, Brooklyn, New York
11. Dion, Mark (born 1961, USA)
Department of Marine Animal Identification of the City of
San Francisco (Chinatown Division)
1998
mixed media
dimensions to be determined
Courtesy of the artist and Tanya Bonakdar Gallery
12. Dunning, Jeanne (born 1960, USA)
Leaking 2, 1994
Laminated cibachrome prints and frames
21 ½ x 17 ½ in. (54.6 x 44.4 cm) each
Collection of Helen Kornblum
13. Andrea Fraser (American, born 1965)
Museum Highlights: A Gallery Talk, 1989
Performance, Philadelphia Museum of Art
Courtesy the artist
14. Gallagher, Ellen (born 1965, USA)
Tally, 1994
Oil, pencil and paper on canvas
84 x 72 in. (213.4 x 182.9 cm)
Museum of Fine Arts, Boston, 1994.278
9
15. Gonzalez-Torres, Felix (born 1957 Cuba – died 1996 USA)
Untitled (Portrait of Dad), 1991
White candies individually wrapped in cellophane, endless
supply
Overall dimensions vary with installation
Ideal weight: 175 lbs.
De la Cruz Family Collection
Courtesy of the Felix Gonzalez-Torres Foundation
16. Jodi.org
(Joan Heemskerk, b. 1968 Netherlands
and Dirk Paesmans, b. 1965 Belgium)
Untitled-Game ( A-X, Q-L, Arena, Ctrl-Space ), 1998-2002
untitled-game.org
Courtesy of the artists
17. Kaino, Glenn (born 1972, USA)
The Siege Perilous, 2002
Aeron chair, Plexiglas, wood and steel base, and
mechanized component
65 x 49 x 49 in. (165.1 x 124.5 x 124.5 cm)
Collection of Bill Cisneros
18. Kilimnik, Karen (born 1955, USA)
Mary Shelley in London before writing Frankenstein, 2001
Water-soluble oil on canvas
20 x 16 in.
Philadelphia Museum of Art: Purchased with the Adele
Haas Turner and Beatrice Pastorius Turner Memorial Fund,
2002
Beppi at Schuykill Park, 1996
Oil on canvas
20 x 16 in.
Erie Art Museum, Gift of the American Academy and
Institute of Arts and Letters
10
The Toy Soldier, 1999
Water-soluble oil color on canvas
16 x 12 in.
Courtesy Greene Naftali, NY
21. Kim, Byron (born 1961, USA)
Synecdoche, 1991/1998
Oil and wax on twenty panels
10 x 8 in. (25.4 x 20.3 cm) each
Blanton Museum of Art, TX
Michener Acquisitions Fund, 1998
22. Lee, Nikki S. (born 1970, South Korea)
Punk Project 1, 1997
Fujiflex print
Approx. 16 x 20 in. each
Hispanic Project 25, 1998
Fujiflex print
Approx. 16 x 20 in. each
Ohio Project 7, 1999
Fujiflex print
28 ¼ x 21 ¼ in.
25. Ligon, Glenn (born 1960, USA)
Invisible Man (Two Views), 1991
oil and gesso on canvas
(each canvas) 28 in. x 20 in. (71.12 cm x 50.8 cm)
Currier Museum of Art
Museum Purchase: The Henry Melville Fuller Acquisition
Fund, 2010.22.a,b
11
26. Lockhart, Sharon (born 1964, USA)
Untitled, 1996
Framed chromogenic print
73 x 109 in. (185.4 x 276.9 cm)
Edition 6 of 6
The Metropolitan Museum of Art, Purchase, Neuberger
Berman Foundation Gift and Lila Acheson Wallace Gift,
2004
2004.62
Courtesy of the artist and Blum & Poe, Los Angeles;
Gladstone Gallery, New York; and neugerriemschneider,
Berlin
27. Martinez, Daniel Joseph (born 1957, USA)
Combined Action (from the series I couldn't remember if
death or love was the solution to defeating the empire;
One thought he was invincible, the other thought he could
fly--superheroes, assassins and astrology, they all pray to
the wrong god), 1993
Acrylic on velvet
24 x 36 in (60.96 x 91.44 cm)
Courtesy of the artist and Roberts & Tilton, Culver City,
California
Systematic Decomposition (from the series I couldn't
remember if death or love was the solution to defeating
the empire; One thought he was invincible, the other
thought he could fly--superheroes, assassins and astrology,
they all pray to the wrong god), 1993
Acrylic on velvet
24 x 36 in (60.96 x 91.44 cm)
California
Constructed Situation (from the series I couldn't remember
if death or love was the solution to defeating the empire;
Acrylic on velvet
36 x 24 in ( 91 x 44 x 60.96 cm)
California
12
Detournement (from the series I couldn't remember if
death or love was the solution to defeating the empire;
Acrylic on velvet
36 x 24 in ( 91 x 44 x 60.96 cm)
California
31. Mehretu, Julie (born 1970, Ethiopia)
Untitled, 2000
Ink, colored pencil, and cut paper on Mylar
18 x 24 inches (45.7 x 61 cm)
Collection of Mr. Nicolas Rohatyn and Jeanne Greenberg
Rohatyn
32. Mehretu, Julie (born 1970, Ethiopia)
Untitled, 2000
Ink, Colored Pencil, and Cut Paper on Mylar
18 x 24 inches (45.7 x 61 cm)
Collection of Alvin Hall
33. Mori, Mariko (born 1967, Japan)
Pratibimba #3, 1998 – 2002
Acrylic lucite with cibachrome print
48 in. diameter
34. a. Muniz, Vik (born 1961, Brazil)
Big James Sweats Buckets, 1996
from the series Sugar Children
gelatin silver print
13 1/4 x 10 1/2 in. (33.7 x 26.7 cm)
The Metropolitan Museum of Art
Purchase, Anonymous Gift, 1997
1997.230.2
13
b. Muniz, Vik (born 1961, Brazil)
Jacinthe Loves Orange Juice, 1996
13 1/4 x 10 1/2 in. (33.7 x 26.7 cm)
Gift of Vik Muniz and Marion A. Tande, 1997
1997.234
c. Muniz, Vik (born 1961, Brazil)
Valentine, the Fastest, 1996
13 3/8 x 10 1/2 in. (33.9 x 26.7 cm)
Purchase, Anonymous Gift, 1997
1997.230.1
35. Murthy, Prema (born 1969, USA)
Bindi Girl, 1999
Web Site (http://www.thing.net/~bindigrl/)
Courtesy of the artist
36. Napier, Mark (born 1961, USA)
Riot, 2000
Web browser
http://www.potatoland.org/riot/
37. Neshat, Shirin (born 1957, Iran)
Crowd from the Front, Woman Leaving, 2000
From the Fervor Series
Gelatin silver print
50 x 67 ½ x 2 in. (127 x 171.4 x 5.1 cm)
The JPMorgan Chase Art Collection
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38. Mendi + Keith Obadike (born 1973, USA)
Blackness for Sale, 2001
Screen capture from archived website
Courtesy of the Artists
39. Ocampo, Manuel (born 1965, Philippines)
La Liberte, 1990
Oil on canvas
48 1/4 x 48 in. (122.6 x 121.9 cm)
The Museum of Contemporary Art, Los Angeles
Gift of Councilman Joel Wachs
94.113
40. Opie, Catherine (born 1961, USA)
Jo, 1993
Chromogenic print
20 x 16 in.
Montclair Art Museum, Gift of Patricia A. Bell
2003.9.2
41. Opie, Catherine (born 1961, USA)
Richard and Skeeter, 1994
Chromogenic print
Ed. of 8 + 2 AP
20 x 16 in.
Montclair Art Museum, Gift of Patricia A. Bell
2004.2.1
42. Orozco, Gabriel (born 1962, Mexico)
Piedra que cede (Yielding Stone), 1992
Plasticine, Ed 2 of 3
14 ½ x 15 ½ x 16 in. (36.8 x 39.4 x 40.6 cm)
Walker Art Center, T.B. Walker Acquisition Fund, 1996
1996.166
15
My Hands Are My Heart, 1991
Two silver dye bleach prints
Each: 9 1/8 x 12 ½ in. (23.2 x 31.8 cm)
Courtesy of Marian Goodman Gallery
Pinched Ball, 1993
Cibachrome, Edition of 5
16 x 20 in.
Courtesy of Marian Goodman Gallery
45. Osorio, Pepon (born 1955, Puerto Rico)
A Mis Adorables Hijas, 1990
mixed media
36 x 28 x 72 in.
Courtesy of the artist and Ronald Feldman Gallery
46. Owens, Laura (born 1970, USA)
Untitled, 1997
Oil and acrylic on canvas
49 3/4 x 45 1/2 inches (126.4 x 115.6 cm)
Collection of Nina and Frank Moore
47. Pardo, Jorge (born 1963, Cuba)
Vince Robbins, 1997
Plastic, steel, lightbulb, and electric wire
Dimensions variable
Museum of Contemporary Art Chicago
Restricted gift of Carlos and Rosa de la Cruz
1998.29
16
48. Pastor, Jennifer (born 1966, USA)
Untitled, 1992
Sandblasted steel and pigmented epoxy resin structure,
holding sandblasted steel and pigmented epoxy resin nest
and a found nest
70 in. high x 42 in. diameter
Collection of Eileen & Michael Cohen
49. Peyton, Elizabeth (born 1965, USA)
Alizarin Kurt, 1995
Oil on canvas
24 x 20 in. (61 x 50.8 cm)
Brant Foundation Inc.
50. Peyton, Elizabeth (born 1965, USA)
Blur Kurt, 1995
Oil on masonite
14 x 11 inches (35.6 x 27.9 cm)
Collection of David Zwirner, New York
51. Rhoades, Jason (1965-2006, USA)
Red, 1993
Mixed media
Dimensions variable
52. Semmes, Beverly (born 1958, USA)
Famous Twins, 1993
Crushed velvet and cotton
two parts, each 140 x 48 in.
Collection of The Frances Young Tang Teaching Museum
and Art Gallery at Skidmore College
17
53. a. Sikander, Shahzia (born 1969, Pakistan)
Uprooted Order I, 1996
Vegetable colors, dry pigment, watercolor, tea on
hand-prepared wasli paper
17 1/2 x 12 in. (45 x 31 cm)
Collection of A. G. Rosen
b. Sikander, Shahzia (born 1969, Pakistan)
Uprooted Order II, 1996
Vegetable colors, dry pigment, watercolor, tea on
hand-prepared wasli paper
17 1/2 x 12 in. (45 x 31 cm)
Collection of A. G. Rosen
54. Sikander, Shahzia (born 1969, Pakistan)
Cholee Kay Pechay Kiya? Chunree Kay Neechay Kiya?(
What is Under the Blouse? What is Under the Dress?),
1997
Vegetable color, dry pigment, watercolor, tea on handprepared wasli paper
Marieluise Hessel Collection, Hessel Museum of Art,
Center for Curatorial Studies, Bard College, Annandale-onHudson, New York
55. Simmons, Gary (born 1964, USA)
Black Chalkboards (Two Grinning Faces with Cookie Bag)
from the Erasure Series, 1993
Chalk and slate paint on fiberboard with oak frame
48 x 60 in. (121.9 x 152.4 cm)
Hort Family Collection
56. Stark, Frances (born 1967, USA)
Chinatown Poster, 1999
Print on paper
18.3 x 22.9 in. (46.4 x 58.1 cm)
Courtesy Marc Foxx Gallery
18
57. Thater, Diana (born 1962, USA)
Ginger Kittens, 1994
Two flat panel monitors
Courtesy of 1301PE Gallery
58. Tiravanija, Rirkrit (born 1961, Argentina)
Untitled (lunch box), 1996
Stainless steel container, Thai newspaper, and Thai meal
overall (lunchbox): 12 3/8 x 6 5/16 x 7 1/16 in. (31.5 x 16 x
18 cm)
newspaper page (each): 21 1/4 x 15 3/8 in. (54 x 39 cm)
59. Tribe, Mark (born 1966, USA)
Traces of a Constructed City, 1995
Online Art Project
60. Walker, Kara (born 1969, USA)
Untitled, 1993-4
Paper on prepared canvas
59.5 x 31.25 in. (151.1 x 79.4 cm)
Christhilf Collection
61. Wilson, Fred (born 1961, USA)
Portrait of S.A.M. (Europeans), 1993
6 photo, ea: 16 x 16 in.
Collection of Peter Norton
19
62. a. Zittel, Andrea (born 1965, USA)
Personal Panel, 1994
Rayon, satin and leather
43 ¾ x 40 ½ in. (111.1 x 102.9 cm)
ARG# ZA1994-015
Courtesy of Andrea Rosen Gallery, NYC
b. Zittel, Andrea (born 1965, USA)
Rayon, satin and leather
43 ¾ x 40 ½ in. (111.1 x 102.9 cm)
ARG# ZA1994-014
c. Zittel, Andrea (born 1965, USA)
wool gabardine and suspenders 44 1/4 x 49 1/2 inches
(112.4 x 125.7 cm)
ARG# ZA1994-019
d. Zittel, Andrea (born 1965, USA)
synthetic suit fabric and suspenders
44 x 50 inches (111.8 x 127 cm)
ARG# ZA1994-020
20
e. Zittel, Andrea (born 1965, USA)
Study for Personal Panels, 1994
Gouache on paper
12 x 9 in. (30.5 x 22.9 cm)
ARG# ZA1994-025
f.
Zittel, Andrea (born 1965, USA)
Study for Personal Panels, 1994
Gouache on paper
12 x 9 in. (30.5 x 22.9 cm)
ARG# ZA1994-026
63. Zurkow, Marina (born 1962, USA)
Braingirl, 2000-03
nine-episode animated series
created with Macromedia Flash and distributed on DVD.
Courtesy of the artist and Bitforms Gallery
21
CATALOGUE SPECIFICATIONS
Alexandra Schwartz, editor
Co-published by the University of California Press and the Montclair Art Museum
Produced by Marquand Books
176 pages
94 color illustrations
Trim size: 8 x 10 inches
Retail price: $39.95
Frontmatter (2,000 words)
 Director’s foreword
 Acknowledgements
 Table of contents
Exhibition overview essay (6,500 words)
 Alexandra Schwartz, “Chaotic Input: Art in the United States, 1989-2001”
Thematic essays (3,000 words each)
 Huey Copeland (Northwestern University), “Unfinished Business As Usual: Black Artists, New York Institutions and the 1990s”
 Jennifer González (University of California, Santa Cruz), “Costume: Come As You Aren't”
 Suzanne Hudson (University of Southern California), “After Endgame: American Painting in the 1990s”
 Joan Kee (University of Michigan), “As the World Turns in Nineties America”
 Kris Paulsen (Ohio State University), “Ill Communication: Anxiety and Identity in 1990s Net Art”
 Paulina Pobocha (The Museum of Modern Art), “Event Horizons: Gabriel Orozco and the 1990s”
 John Tain (Getty Research Institute), “A Place to Call Home: Artists in and out of Los Angeles, 1989-2001”
The exhibition: 1989-1993
 Alexandra Schwartz, Introduction to art of the early 90s and discussion of works (3,500 words)
 Plates
 Alexandra Schwartz, Introduction to art of the mid-90s and discussion of works (3,500 words)
 Plates
 Alexandra Schwartz, Introduction to art of the late 90s and discussion of works (3,500 words)
 Plates
Chronology (8,500 words)
• Frances Jacobus-Parker (Princeton University) on key artistic, political, and cultural events of the 1990s
Backmatter (2,000 words)
 Bibliography
 Index
 Photography Credits
Come As You Are: Montclair Art Museum
22

Come As You Are: Art of the 1990s

Transcription

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