Come As You Are: Art of the 1990s - MAM Docent...

Come As You Are : Montclair Art Museum 1

Come As You Are: Art of the 1990s

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

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)

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 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


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.

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.

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


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 “all-

American” 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.


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.


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

Last Updated: February 25, 2014 Come As You Are : Montclair Art Museum 7


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. Ali, Laylah (born 1968, USA) Untitled, 2000 Gouache and pencil on paper 6 x 4.5 in. (15.2 x 11.4 cm) Collection of A.G. Rosen

4. Ali, Laylah (born 1968, USA) Untitled, 2000 Gouache and pencil on paper 8 x 5 in. (20.3 x 12.7 cm) Collection of A.G. Rosen


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


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


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

19. Kilimnik, Karen (born 1955, USA) 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


20. Kilimnik, Karen (born 1955, USA) 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 Ann and Mel Schaffer Family Collection

23. Lee, Nikki S. (born 1970, South Korea) Hispanic Project 25, 1998 Fujiflex print Approx. 16 x 20 in. each Ann and Mel Schaffer Family Collection

24. Lee, Nikki S. (born 1970, South Korea) Ohio Project 7, 1999 Fujiflex print 28 ¼ x 21 ¼ in. Ann and Mel Schaffer Family Collection

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


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

28. Martinez, Daniel Joseph (born 1957, USA) 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) Courtesy of the artist and Roberts & Tilton, Culver City, California

29. Martinez, Daniel Joseph (born 1957, USA) Constructed Situation (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 36 x 24 in ( 91 x 44 x 60.96 cm) Courtesy of the artist and Roberts & Tilton, Culver City, California


30. Martinez, Daniel Joseph (born 1957, USA) Detournement (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 36 x 24 in ( 91 x 44 x 60.96 cm) Courtesy of the artist and Roberts & Tilton, Culver City, 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 Ann and Mel Schaffer Family Collection

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


b. Muniz, Vik (born 1961, Brazil) Jacinthe Loves Orange Juice, 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 Gift of Vik Muniz and Marion A. Tande, 1997 1997.234

c. Muniz, Vik (born 1961, Brazil) Valentine, the Fastest, 1996 from the series Sugar Children gelatin silver print 13 3/8 x 10 1/2 in. (33.9 x 26.7 cm) The Metropolitan Museum of Art 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/ Courtesy of the artist

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


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


43. Orozco, Gabriel (born 1962, Mexico) 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

44. Orozco, Gabriel (born 1962, Mexico) 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


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 Ann and Mel Schaffer Family Collection

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


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 hand-prepared wasli paper Marieluise Hessel Collection, Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, 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


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) Ann and Mel Schaffer Family Collection

59. Tribe, Mark (born 1966, USA) Traces of a Constructed City, 1995 Online Art Project Courtesy of the artist

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


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) Personal Panel, 1994 Rayon, satin and leather 43 ¾ x 40 ½ in. (111.1 x 102.9 cm) ARG# ZA1994-014 Courtesy of Andrea Rosen Gallery, NYC

c. Zittel, Andrea (born 1965, USA) Personal Panel, 1994 wool gabardine and suspenders 44 1/4 x 49 1/2 inches (112.4 x 125.7 cm) ARG# ZA1994-019 Courtesy of Andrea Rosen Gallery, NYC

d. Zittel, Andrea (born 1965, USA) Personal Panel, 1994 synthetic suit fabric and suspenders 44 x 50 inches (111.8 x 127 cm) ARG# ZA1994-020 Courtesy of Andrea Rosen Gallery, NYC


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 Courtesy of Andrea Rosen Gallery, NYC

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 Courtesy of Andrea Rosen Gallery, NYC

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

Come As You Are: Montclair Art Museum 22


CATALOGUE SPECIFICATIONS Come As You Are: Art of the 1990s 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 The exhibition: 1994-97

Alexandra Schwartz, Introduction to art of the mid-90s and discussion of works (3,500 words)

Plates The exhibition: 1998-2001

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

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Documents

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