Works from the Peter Norton Collection

Tea Ceremony III

Tea Ceremony III
signed 'Mariko Mori' (on a paper label affixed to the reverse of the aluminum)
Cibachrome print mounted on aluminum
48 x 60 in. (121.9 x 152.4 cm.)
Executed in 1994. This work is number two from an edition of four.

Another example of this edition is in the permanent Collection of the Vera List Center for Art and Politics at the New School, New York.
American Fine Arts, Co./Colin de Land Fine Art, New York
Acquired from the above by the present owner, 1996
B. Schwabsky, "Costume Drama," World Art, no. 14, 1996, p. 19 (illustrated).
K. Higa, "Some Thoughts on National and Cultural Identity," Art Journal, vol. 55, no. 3, Fall 1996, p. 7.
M. Cohen, "Mariko Mori: Plastic Dreams in the Reality Bubble," Flash Art, vol. 30, no. 194, May/June 1997, pp. 94 and 97 (illustrated).
Mariko Mori: Esoteric Cosmos, exh. cat., Wolfsburg, 1998, p. 21 (illustrated).
L. Mendenhall, "Digital Deception," Coast, June 1998, p. 33 (illustrated).
N. Bryson, "Cute Futures: Mariko Mori's Techno-Enlightenment," Parkett, no. 54, December 1998/January 1999, pp. 86-87 (illustrated in color).
H. Cotter, "Drawing on a Rich Lode of Shinto-Buddhist Culture," New York Times, 16 April 1999.
J. Saltz, "A Zone of Her Own," Village Voice, 20 April 1999.
W. Goodman, "Taking Tea with Mariko Mori," W, December 2001.
M. Berger, Patrons of Progress: The New School University Art Collection, 2002, pp. 10 and 11, fig. 5 (illustrated in color).
B. Genocchio, "A Walk on the Wild Side, and Then Some," New York Times, 10 February 2008.
J. Wallis, "The Paradox of Mariko Mori's Women in Post-Bubble Japan," Women's Art Journal, March 2008, fig. 1 (illustrated in color).
New York, American Fine Arts Co., Made in Japan, March-April 1995.
New York, Apex Art, All Dressed Up, December 1995-January 1996, n.p. (another example exhibited).
Grenoble, Centre National d'Art Contemporain, Magasin, Mariko Mori, June-September 1996 (another example exhibited).
Kunstsammlungen Zu Weimar, Nach Weimar, June-July 1996 (another example exhibited).
Miyagi Museum of Art, Ironic Fantasy, July-September 1996 (another example exhibited).
Paris, Grande Verrière de la Gare d'Austerlitz, Mariko Mori, September-October 1996 (another example exhibited).
Boston, Institute of Contemporary Art, New Histories, October 1996-January 1997, pp. 137 and 215 (illustrated).
Venice, Nordic Pavillion, XLVII Biennale di Venezia 1997, June-November 1997 (illustrated in color, another example exhibited).
Huntington Beach Art Center, The Unreal Person: Portraiture in the Digital Age, April-June 1998, pp. 7, 18 and 23 (illustrated in color).
Pittsburgh, Andy Warhol Museum, Mariko Mori, June-September 1998 (another example exhibited).
Chicago, Museum of Contemporary Art, Mariko Mori, October 1998-March 1999, p. 47 (illustrated in color).
Brooklyn Museum, Mariko Mori: Empty Dream, April-August 1999 (another example exhibited).
Washington, D.C., Smithsonian Institution, Hirshhorn Museum and Sculpture Garden and Munich, Haus der Kunst, Regarding Beauty: A View of the Late Twentieth Century, October 1999-April 2000, pp. 78 and 200, no. 41 (illustrated in color).
Tokyo, Museum of Contemporary Art Mariko Mori: Pure Land, January-March 2002, p. 23 (illustrated in color, another example exhibited).
Purchase College, Neuberger Museum of Art, Person of the Crowd: The Contemporary Art of Flânerie, January-April 2008.

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