OF CONTEMPORA : 'lS 3:JNI~d Ol 3Nil A\IMG\IO~g : 'lS ~3>1::>3319 ~o ' l S 9 N I~ d S 0 l ( 9#) 3 NIl ' 3 A V N 019 NIX 31 :t~ttiHinS SNOI1:J:IIHIG 33~~ 'ZT ~3aNn N3~GliH:J GN\1 S~3BW3W :s~OIN3S 'SlN3GOlS 'SlSil~'v' 00'£$ :l'v'~3N39 00'17$ NOISSIWGY G3SOl:J : A\IG$301 GN\1 A'v'GNOW 3 3 ~ ~ ' W ' d 0 0 : 8-0 0 : 9 " W ' d 0 0 : 8 0 l N 0 0 N : A \1 a~ n l \f S 'W'd 00:9 Ol NOON :A'v'GNOS GN'v' 'A'v'GI~::l 'A\IGS~OH! 'A\IGS3NG3M SHROH ZZZT-6TZ (ZTZl S3:JI~~O 55£T-6TZ (ZTZl NOil'v'W~O~NI 9181 ' ON 1IWM3d ZTOOT AN '>I~OA M3N AN '~MOA M3N Sl33~lS NOlSOOH GN\1 3:JNI~d a 1 v d N33Ml38 A'v'MG\IO~g £85 39VlSOd ·s·n ' 9MO li~OHd·NON l8'1f A8'1f80dl!IJ3.LN08 ::10 wnasnwMaNaiLI~ R y ART THE NEW MUSEUM OF CONTEMPORARY ART, NEW YORK, IS A NON-PROFIT INSTITUTION FOCUSING PRIMARILY ON WORK OF THE PAST TEN YEARS BY LIVING ARTISTS. IT IS DEDICATED TO AN ONGOING INVESTIGATION OF WHAT ART IS AND HOW IT RELATES TO SOCIETY AT LARGE. THE BOARD OF TRUSTEES: HENRY LUCE III. PRESIDENT; ARTHUR A. GOLDBERG, VICE PRESIDENT, TREASURER; PENNY McCALL. VICE PRESIDENT; GAIL BERKUS, SAUL DENNISON, RICHARD EKSTRACT, ALLEN A. GOLDRING, MANUEL E. GONZALEZ. PAUL C. HARPER, JR., SHARON KING HOGE. MARTIN E. KANTOR, JAMES C. A. MCCLENNEN. RAYMOND J. MCGUIRE. EILEEN NORTON, CAROLE RIFKIND: WILBUR L . ROSS, JR •• PATRICK SAVIN, PAUL T. SCHNELL, HERMAN SCHWARTZMAN. ROBERT J . SHIFFLER. LAURA SKOLER. MARCIA TUCKER. DIRECTOR; LAlLA TWIGG-SMITH; VERA G. LIST, TRUSTEE EMERITUS. THE ARTISTS ADVISORY BOARD: DouG AsHFORD, JULIE Auu. KATE ERicsoN AND MEL ZIEGLER. FELIX GONZALEZ-TORRES, JIMMIE DURHAM, YOLANDA LOPEZ, CARMELITA TROPICANA, FRED WILSON, TONY COKES, AMY HAUFT, MARY KELLY, BYRON KIM, INIGO MANGLAN0-0VALLE, CATALINA PARRA. JUDITH SHEA, RIRKRIT TIRAVANIJA, NARI WARD, NAYLAND BLAKE, JUDITH BARRY. MARY HEILMAN THE NEW MUSEUM VIEWS IS PRODUCED BY THE PUBLIC RELATIONS DEPARTMENT. DESIGN: MARY ELLEN CARROLL. © 1995 THE NEW MUSEUM OF CONTEMPORARY ART ANDRES SERRANO • KLANSWOMAN (GRAND KLALIFF II) , 1990 • CIBACHROME PRINT • PHOTO CREDITS: COURTESY OF THE ARTIST AND PAULA COOPER GALLERY, NY nuary 27-April 9, 1995 E I 8 I T I 0 N s thwart our need for certainty at the apocalypse. Although the darkening sky and the light andresSERRANO: extraordinary century." rising from behind the cross may appear to spoof religion, -From the Foreword, Patrick T. Murphy, Director, The Institute of Works 1983-1993 dealing with the cross in the landscape that Contemporary Art, University of Pennsylvania, Philadelphia he had seen in selling religious paraphernalia." MAIN, NEW WORK, AND WORKSPACE GALLERIES "The Klan asserts its identity and invincibility by -From Andres Serrano: Robert Hobbs, .... z The first major museum exhibition of New York effacing the bodies of its members, eliminating from Professor of Art History, University. .."' artist Andres Serrano features 50 large-scale color view anything that suggests weakness or vulnerability. © 1994, Robert Hobbs w E photographs from a prolific ten-year period. Important 0 The formal appearance of the Knights-abstract, :I:"' u works from each of the artist's thematic series will be geometrical, streamlined-is the totalitarian design "While taking photographs in the subways, he had to work .,< presented, along with a short video produced by the strategy of a Darth Vader. But Serrano's sharp focus quickly because he did not have a permit. He encouraged Museum of Contemporary Art, Chicago. subverts this attempt, revealing puckers in an each model to assume his or her own posture before the inexpertly pressed robe, childish stitching around camera; his only request was that they look to the left or The only funding for the exhibition has come from an eyehole, the hint of a rosy ear glimpsed through the right. The camera was placed twenty-four to thirty The Henry Luce Foundation, Inc. who gave a generous a gap in a hood . In these revelations, the terrifying inches from the ground so that the viewer's eye would be grant for the Museum's presentation of this provocative idea gives way to a petty, incompetent reality, and, level with the middle of the model's chest. The intended artist's work. result? Aggrandizing his sitters. In taking his portable This mid-career retrospective studio to the homeless, 0 offers the public an z Serrano was reenacting the < opportunity to view Serrano's process developed by Irving "'w V) imagery-including his most Penn, the fine-arts and U) w "' sensational ized pieces-in fashion photographer, for his ~" the context of a consistent series of images of New body of work that critically Guinea tribesman, Worlds in a investigates notions of Small Room (1970). " religion, violence, homeless- -From Andres Serrano: The Body ness, racism, beauty, Politic, Robert Hobbs mortality, and the body. The exhibition is accompanied "Serrano's exploration of by a catalogue published by the boundaries that keep the Institute of Contemporary humans from knowing Art, University of Pennsylvania, themselves, that separate Philadelphia. Excerpts from them from each other and essays in this first fully from the nonmaterial world, illustrated catalogue of follows a trajectory in religious the artist's career, Andres pictorial represen-tations from Serrano: Works 1983-1993, the early Renaissance on. appear below. Using religious subject matter as a hinge upon which "At an early period , photography was incorporated into the suddenly, the control of uniform, mask, questions of faith, mortality, ritual , and myth turn, Serrano program of science; the natural, medical, and social and abstraction collapses. Great Titan of the Invisible has created a body of work that parallels the role of disciplines all benefited from its qualities. Later, the Empire, indeed! " religion and belief in his own life. As he pointed out early photographic tradition of the tableau was joined to in his career, 'There's a lot of irony in my work, but it's not -From Introduction: Below Skin-deep, Wendy Steiner, Professor commodity marketing to create the media fantasies of sacrilegious. I've always thought that you feel God inside of Literature, University of Pennsylvania consumeristic society. The medium itself defined the you ; I don't consider myself religious, but I do consider representation of both the factual and the fantastic. For myself spiritual, which is why I'm not a heretic. I have no an artist like Serrano, these twin horns offered an ideal "On Good Friday 1985, Serrano photographed his Blood problem with God; my issue is with the Church , with the place upon which to rest a dilemma. To read a Serrano Cross in Leon Golub's studio .. .The tank for Blood Cross dogma and confusion, a perversion of the actual teaching, photograph becomes an exercise in the paradoxical. The started to leak as he filled it with blood (Serrano was just that seems to have failed Christianity. "' irreconcilables of form and content, Christianity and learning to work with Plexiglas) ; deciding that the image of magic, the scientific and the fantastic, the slick and the a dripping cross might prove interesting, he filled the tank -From An_dres Serrano: Retrospect, Marcia Tucker, raw-all are present and accounted for. His emphasis is to the top and photographed it against a spray-painted Director, The New Museum of Contemporary Art not on the provision of resolutions but the careful backdrop especially created to suggest an ersatz crafting of unanswerable propositions that seem to ANDRES SERRANO • BLOOD CROSS, 1985 C!BACHROME PRINT .... PUBLIC PROGRAMS z DIALOGUE WITH ARTIST ANDRES SERRANO AND w E INDEPENDENT CURATOR AND ART CRITIC 0 BRUCE FERGUSON l:"' ..u THURSDAY, FEBRUARY 23RD. 6:30-8:30 P.M . "' TICKETS REQUIRED co SYMBOLS OF POWER AND STATES OF ANXIETY co "'.... THURSDAY , MARCH 2ND, 6 : 3 0-8 : 3 0 P . M. A CONVERSATION BETWEEN CULTURAL PRODUCERS AND CRITICS ON THE SYMBOLIC AND REAL POWER OF CONTEMPORARY INSTITUTIONS. SPEAKERS TO BE ANNOUNCED. TICKETS REQUIRED TICKETS : $7 GENERAL. $5 STUDENTS, SENIORS, 0 MEMBERS . TICKETS ARE SOLD IN ADVANCE AT THE ..z ADMISSIONS DESK OF THE NEW MUSEUM DURING "' MUSEUM HOURS ; NO RESERVATION OR TICKET ORDERS "'w "' WILL BE TAKEN BY PHONE . "'w "' z <" WORKSHOP iMAGES OF iLLUSION: EXPLORING THE VISUAL HETAPHORS OF ANDRES SERRANO SATURDAY, FEBRUARY 4TH 10:00 A.M.-3:00 P. M. FREE WITH MUSEUM ADMISSION A WORKSHOP FOR TEACHERS CONDUCTED BY CARMEN BARDEGUEZ, A PUBLISHED POET. WRITER. AND HISTORY TEACHER AT SATELLITE ACADEMY HIGH SCHOOL IN QUEENS, NEW YORK. FOR FURTHER INFORMATION AND TO R.S.V.P .. PLEASE CALL (212) 219 - 1222 . on of Andres Serrano: Works 1983-1993 at The .... of Contemporary Art is made possible by a z ..."' Henry Luce Foundation, Inc., and w n ..· ~-.-•n•'s Council, members, and "'0 l:"' supporters of The New Museum. ..u "' The exhibition and catalogue, organized by the N Contemporary Art, University of Pennsylvania, "'.... were made possible by the Andy Warhol Foundation for the Visual Arts, Inc.; Henry S. McNeil, Jr.; Lynn and Harold Honickman; Ella B. Schaap; an anonymous donor; and the board, friends, and members of the Institute of Contemporary Art, University of Pennsylvania, Philadelphia. The video presented with the exhibition is produced by the Education Department of the Museum of Contemporary Art, Chicago. 0 ..z "' "'w "' "'w "'z <" The New Museum of Contemporary Art gratefully acknowledges the support of the following: The Lannan Foundation, The Norton Family Foundation, and Robert J. Shiffler for Visiting Hours; The Cowles Charitable Trust and an anonymous donor for the Multicultural Internship Program; the Gannett Communities Fund and the Nathan Cummings Foundation for the High School Art Program; the Institute of Museum Services for general operating support.