Editing Laurie Anderson (section)

=== 1990s ===
In 1991, she was a member of the jury at the [[41st Berlin International Film Festival]].<ref name="Berlinale">{{cite web |url=http://www.berlinale.de/en/archiv/jahresarchive/1991/04_jury_1991/04_Jury_1991.html |title=Berlinale: 1991 Juries |access-date=March 21, 2011 |work=berlinale.de}}</ref> In the same year, Anderson appeared in ''[[Arena (UK TV series)|The Human Face]]'', a feature arts documentary directed by artist-filmmakers [[Nichola Bruce]] and Michael Coulson for BBC television. Anderson was the presenter in this documentary on the history of the face in art and science. Her face was transformed using latex masks and digital special effects as she introduced ideas about the relationship between [[physiognomy]] and perception. Her varied career in the early 1990s included voice-acting in the animated film ''[[The Rugrats Movie]]''. In 1994, she created a [[CD-ROM]] titled ''[[Laurie Anderson's Puppet Motel|Puppet Motel]]'', which was followed by ''[[Bright Red]]'', co-produced by [[Brian Eno]], and another spoken-word album, ''[[The Ugly One with the Jewels]]''. This was followed by an appearance on the 1997 charity single "[[Perfect Day (Lou Reed song)|Perfect Day]]".<ref>{{cite web|url=https://www.imdb.com/name/nm0002173/|title=Laurie Anderson|website=IMDb|access-date=April 24, 2014}}</ref>

In 1996, Anderson performed with Diego Frenkel (La Portuária) and [[Aterciopelados]] for the AIDS benefit album ''[[Silencio=Muerte: Red Hot + Latin]]'' produced by the [[Red Hot Organization]].

An interval of more than half a decade followed before her next album release. During this time, she wrote a supplemental article on the cultural character of New York City for the ''[[Encyclopædia Britannica]]''<ref>"[http://www.newyorker.com/magazine/2001/07/16/encyclopaedia-anderson Encyclopaedia Anderson]", ''[[The New Yorker]]'', July 16, 2001</ref> and created multimedia presentations, including one inspired by ''[[Moby-Dick]]'' (''Songs and Stories from Moby Dick'', 1999–2000).<ref>{{cite news| url=http://www.cnn.com/SHOWBIZ/Arts/9906/04/review.spoleto.laurie/ | work=CNN | access-date=May 7, 2010 | title=Review: Laurie Anderson's 'Moby' – the big blubber}}</ref> One of the central themes in Anderson's work is exploring the effects of technology on human relationships and communication.

Starting in the 1990s, Anderson and [[Lou Reed]], whom she had met in 1992, collaborated on recordings together.<ref>{{cite web |url=http://www.transmitmedia.com/svr/vault/anderson/ander_transcript.html |title=Interview With Laurie Anderson |website=Transmitmedia.com |access-date=October 2, 2011 |archive-url=https://web.archive.org/web/20110930122731/http://www.transmitmedia.com/svr/vault/anderson/ander_transcript.html |archive-date=September 30, 2011 }}</ref> Reed contributed to the tracks "In Our Sleep" from Anderson's ''[[Bright Red]]'', "One Beautiful Evening" from Anderson's ''[[Life on a String (album)|Life on a String]]'', and "My Right Eye" and "Only an Expert" from Anderson's ''[[Homeland (Laurie Anderson album)|Homeland]]'', which Reed also co-produced. Anderson contributed to the tracks "Call on Me" from Reed's collaborative project ''[[The Raven (Lou Reed album)|The Raven]],'' "Rouge" and "Rock Minuet" from Reed's ''[[Ecstasy (Lou Reed album)|Ecstasy]]'', and "Hang On to Your Emotions" from Reed's ''[[Set the Twilight Reeling]]''.

In late 1998, Artist Space, New York presented an exhibit of Anderson’s work from 1970s to 1980s, along with her 1990s work, ''Whirlwind''.<ref>{{Cite book |title=Women, art, and technology |date=2003 |publisher=MIT Press |isbn=978-0-262-13424-8 |editor-last=Malloy |editor-first=Judy |series=Leonardo |location=Cambridge, Mass. |page=94}}</ref>