Art & Soul: Jepson vaunt showcases a 1990s

June 21, 2015 - accent chair

“Come as we are, as we were, as we wish we to be.”

– Nirvana, “Come As You Are”

The Jepson Center turns behind a time with “Come As You Are,” a new muster focusing on art of a 1990s.

Named after an iconic Nirvana song, a vaunt includes initial work by 45 American artists. Organized chronologically, “Come As You Are” is bookended by a tumble of a Berlin Wall in 1989 and a 9/11 militant attacks in 2001, tracing a series of repeated issues.

“The categorical themes of a uncover are temperament politics, a digital series and globalization,” explains muster curator Alexandra Schwartz, curator of contemporary art during a Montclair Museum in Montclair, N.J. “So many artists in a ‘90s were traffic with stream events.”

Alternately humorous and serious, “Come As You Are” captures a tensions and preoccupations of this pivotal decade, covering a operation of amicable issues and geopolitical milestones.

“A lot of younger artists are preoccupied by this period,” Schwartz explains. “There’s a genuine yearning for this time. A lot of a issues that are being worked out now were coalescing in a 1990s.”

From Catherine Opie’s documentary-style tone photographs of tattooed, pierced members of a happy and lesbian village to Elizabeth Peyton’s punk lithographs, “Come As You Are” also drives home some-more personal messages about a inlet of identity. Nikki S. Lee’s impertinent self-portraits – in that she masquerades as a mafiosi rapper, a strikebreaker and other informative stereotypes – yield judicious explanation on a complexity of competition and category in a U.S.

“I am committed to presenting shows like this that plea us since we essentially trust in a energy of art to assistance us improved know a universe and to move different people together to speak about issues that matter to us as a society,” says Telfair Museums executive and CEO Lisa Grove. “Throughout history, artists have always reflected on a universe around them and authorised us to see things in new ways.”

Many of a artists featured in this thought-provoking muster examine underneath a glossy aspect of American life, providing deeper discernment and unfortunate revelations. Jonathan Rhoades’s separate art installation, comprised of found objects trimming from funnels to wigs, delivers a sardonic critique of consumer culture.

Pepon Osario, who creatively hails from Puerto Rico, offers a distressing critique of a disaster of a American dream

by embroidering a real-life self-murder minute — penned by a singular mom who immigrated to a United States in hunt of a improved life for her children — on a plush purple velvet sofa.

Filipino artist Manuel Ocampo turns adult a feverishness with his argumentative 1990 painting, “La Liberte.” Originally featured in “Helter Skelter: L.A. Art in a 1990s” during a Museum of Contemporary Art in Los Angeles, Ocampo’s combination depicts a hooded KKK figure and a large red swastika, surrounded by a melancholy cobra. This ban explanation on competition family in America illustrates a darker side of U.S. history.

Above all, “Come As You Are” celebrates a choice enlightenment that tangible a final decade of a millennium by innovative paintings, sculpture, photography, installations, video and churned media work.

“It was a time tangible by investigation with digital technology, designation art and video,” Schwartz explains. “Artists were regulating new record in engaging ways.”

Highlights embody Glenn Kaino’s “The Siege Perilous,” a dizzying designation with a spinning black bureau chair encased within a transparent plexiglass box, and Alex Bag’s waggish confessional video focusing on a practice of dual wearied punk sell workers in London.

On a decidedly darker note, Doug Aitkin’s “Monsoon” video exposes a forlorn landscape in Jonestown, Guyana – before a site of a 1978 mass self-murder instituted by cult personality Jim Jones – as a charge gathers. A low, droning soundtrack adds an component of threat to meaningful scenes of dull mud roads and deserted trucks.

After withdrawal Savannah in late September, “Come As You Are” will transport to art museums during a University of Michigan in Ann Arbor and a University of Texas in Austin. With a interactive range and wide-ranging theme matter, this vaunt is best gifted in chairman in sequence to get a full clarity of American art in a 1990s.

“This is a unequivocally fun show,” says Schwartz. “Artists were perplexing to reinvent what art can be.”


What: “Come As You Are: Art of a 1990s”

When: Through Sept. 20

Where: Jepson Center, 207 W. York St.

Hours: Noon-5 p.m. Monday and Sunday; 10 a.m.-5 p.m. Tuesday, Wednesday, Friday and Saturday; 10 a.m.-8 p.m. Thursday

Admission: $20 for a triple-site pass charity one-time entrance to a Jepson Center, Telfair Academy and Owens-Thomas House ; giveaway acknowledgment for Telfair members and children underneath 5

For some-more information, call 912-790-8800 or go to


What: Lights, Camera, Art! Party With Savannah Magazine

When: 6:30 p.m. Jul 10

Where: Jepson Center

Cost: $5 acknowledgment

Info: Join Telfair Museums and Savannah Magazine for a ’90s-inspired soiree, featuring a DJ spinning hits and a money bar.

What: I Love The ‘90s! Free Family Day

When: Aug 8, 1-4 p.m.

Where: Jepson Center

Info: This all-ages ‘90s celebration will offer a Telfair print plea and a possibility to make your possess tattoos. Free and open to a public.

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