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Q ~ u ~ -i' 1 ' "<; ~ - ~*' ~· 13 ~ 1­ vi ~ I ""1- ~""" -...::: :! i­ ~ '" gr1­~ I;. < ~, -; ' ''­ ~ &; 'a :z '-../ 'J" - -~-tj\~ . ~!~~1 \. q} . ~ ~\. f '. > V) ·~~~~..ti f ~j { :Q~'1; ~~.. <L e~ r ~ It' ~ ..... ~ ~ '.::~ ~ (:l t"'-::.", ' ,,~ fL· 'tr ~i: :.2. 1-1 ' l-~.:.....t= ~ . ,..., .l: g l d' {)-.. ::? ~ r ~ ~.:2 ..,.,t"~ -t~ 'r' . : .'t. t2 ~ ~ -" ::> ~, ~ • ~ \.lJ r, '> ~ a ~ i ...J ~ 1 ,• E , ~ ~ •e • c ~ • ~ • -­ '" r ~ 3 <1, >­ >1 < '" TABLE OF CONTENTS ':l Preface by H enry Luce III, Presidml Oflh~ Board of TmSlUS 3 Imroduction by Marcia Tucker, Dirl'Ctor 6 Fall Season 8 Multicultural Internship Program 9 Soho Cenrer Library 10 Educatio n 12 Winter Se'l!'on 14 Publ ications 16 Spring S~ason 18 Semi-Permanent Collecrion 19 Anists Advisory Boa rd 20 Summer Season 22 The William Olander ~ 1 ~ nlOr j a l Fund 23 Linda Moncano's Sevm Years ofLiving Art 24 Membership, ArrQuw, and INSIDE/ART 2S Limited Editions. Chrisrian Marday Multiple, and Community Advisory Board 26 1990 Benefit Parry and Arc Auction 28 H onoree Arthur A. Goldberg 29 1991 Benefir Parry and An Auction 30 Donors 10 rhe 1991 Benehr 31 Board ofTrustees and Scaff 32 Interns) Volunteers. and Docents 33 Donors to The NC\.... Museum 37 Independent Aud itO r's Report 38 Financial Stalemenl IT IS HARD TO THINK OF A BUSIER YEAR FOR TH E N EW M USEUM THAN 1990, with three of our most am biti ous projects coming to INTRODUCTION \VHEN T HE N E\l;I M US EUM FIRST OPENED ITS DOORS, FOURTEEN YEARS AGO , conlemporary an acti vir }" fru ition: the collabora tive DECADE SHOW, whic h ended our las t season, and FROM RECEIVER TO REMOTE CONTROL: THE TV SET and had all but ground to a hal l in the major American museums. \Y/e joined a handful ofalternative RH £TORICAl IMAGE , the first two exhibitions of the 1990-9 1 year. spaces in providing exhibitions and programs that were sorely missing. and wh ich-even raken There were many other successes as well. The Museum's limited edition sculpru res, fo r cumulatively-could hardly begi n to filJ the void. Whatever we did in those early years was, by .... instance, have always been an effective means fo r broadening the visibi liry of new works in defau lt as well as by design, a welcome indica tion that [he arts were ali ve and well in N ew York ~ additio n to providing a significam source of revenue. We have now offered nine of these by as and across (he nation. ....... many different anists. At fi rs t these were done at [he rate of one a yea r, bur proved so Some of the programs we ini tiated then have now become museum aod gallery conve ntions. l:1li: Ii. successful Ih at last yea r we did two. Six of the nine are sold Out, bur a few of the other three We incorporated performance and vid eo in most of our exh ibitions and invited artists groups, like hy N ancy Dwyer, Dennis Adams, and Haim Stei nbach remain avail able. One of (he most [he Taller Boriqua, Heresies, En Foco, and Fas hion Moda, {Q orga ni ze independent shows in our 1100cd of [he limited editions was the 1988 entry by Jenny H olzer, who became [h e 1990 space. We foc used on the early, unknown work of major artists and exp lored complex and American emry in the Veni ce Biennale. controversial issues sllch as fem ini sm, gay and lesbi an concerns, rhe environment, and An importanr di mension of [he Museum's work is its H igh School Arts Education Program . Now in its sevemh year, {he program homelessness in maj or exhibiri ons. We organi zed the firs t solo rerrospectives of the work of Alfred includes museum, gaJl ery, and srudio visits, classroom lecrures, slide presentations, writing proje([s, and an making, and ha s in vo l v~d Jensen (I 978), Ree Morton (1980), Juhn Baldessari (1981), Leon Golub (1984), Hans Haacke MARCIA TUCKER mo re than 1,000 srudenr pa rticipams. (I986), Ana Mendieta (1987), Markus Ram (1988), and Christian Bo]tanski (1988). Director This activiry received a rremendous silO[ in rhe arm recently in ('he form of a 5275,000 C hallenge Gram from the Narional We were also, happily, among the earlies t ins ti tutional supporters of sllch well-known figures as Endowmen t for [he Arts. The gra.nc, wh ich tequ.ires a three-for-one match, will add new levels of reacher training to the program and Bill Jensen and Donald Sulran (1 977); Jeff Koons, Dara Birnbaum, Richard Prince, and David e.nable us to pu blish and nati onally distribute a lea rning guide on contemporary an for high sch ool reachers, incorporating slides, Hammuns (1980); and Moira Dr),er, M ichael Kessler, Judith Barry, and Jeff Wall (J 984) . reproductions, and critical tex ts. In the 1980s, however, the anistic c1ima re of N ew York began to change. Museums opened 1 doubt ifany museum of our size could be morc proud of its Board, now at a strength of (\Ven ey- three. During rhe year we rhei r doors once again to contemporary an, embarked on ambitious acquisitions and ex.hibitions enthusiasticall y welcomed as new trustees Saul Dennison. entrepreneur and contemporary art collector, and Nlan uel Gonzalcz , Vicc­ programs. plan ned vas t expansions, bl~came conglomerate and even mulrinationaL Galleries President of the Chase Manhauan Bank and Executive Direcmr p roliferated. alternative spaces matured and moved ro new quarters, art magazines multiplied, HENRY LUCE III of its art program, an expert in the contemporary art fi eld. We prices soa red , auction prices hi t record-breaking highs, artists became med ia celebrities. Ar the Pr~sid~ 11f of r/u were disappoinred, however, to lose three trustees- M ilton same time, AI DS, poverty, and homelcssness burgeoned our of concro!, becoming a daily reality Board ofTrustees fine and William Br ig ht Jones, who resigned, and Eilee n fo r tens of thousands of Americans. Censorship and freedom of speech became burning issues in Finlen cr, who is temporarily on leave-and we thank them the arts, and although immed iate baules were won, the war in (his arena is hardly over. wholehea rredly for their good service. This year, as we face On this shifting terrain, our Museum has negoriared with the ski lls gained from experi ence and 2 severe budgetary press ures. the trustees have pull ed their oars slow but sready growth. At p resent, in a c1imalc of economic recession, wi rh Ihe war in the Persian 3 with renewed vigor and have come up with many si gnificant Gulf only recently ended, we are ex periencing seri ous cu tbacks in afls funding and palronagt'. contributions. \'(,Ie are gra teful fo r their generosity, and for the M:lIly galleries have dosed their doors, magazines have fol ded, and museu ms have scaled back loyal dedica tio n which it refl ects. cxhibieions and programs. T o all our fri ends who have supported lhe Museum as l ro nica ll y, (h is sharr decline in funding to (h e arrs has come a( jusr the moment (har our Boa rd. members or beneFanors, many thanks. I'm remin ded of Richard our staff of forry, and our dedicated interns and volunteers all fele that we had reached a [liming Rodgers' first song, 'wrirren as a Columbia Unive rsi ry freshman: point. We looked fonvard to a yea r full of pmenrial for fi nancial sra hi l.i ry, programmatic diversity "T here's a colJege o n Broadway. " So I ask aU of you nor to and maturiry, and the abiliry to provide basic (Ools and comforts inrernaHy- only to fi nd that forget [hat there's also a museu m on Broadway. Corne visir. wi th the current s(afe and city fiscal crisis , the year ahead promises to be (he mosr djfficult one wh ich museums and arts institutions have had (0 face in a long time.