Charlotte Posenenske, Series D Vierkantrohre (Square Tubes), 1967. Galvanized sheet steel, dimensions variable.
A geometric metal sculpture against a blank, white background. The sculpture is composed of four identical components, each with two triangular spikes extending upwards or downwards. Each of the components is hollow, and the interior of the sculpture can be glimpsed from its side.
The word "TIRANNY" is handwritten in block letters on a wall. In front of it, there is a low-hanging disco ball, surrounded by various objects set on the floor, including a vase with flowers, a silver ball, a brown box, and more. The room is lit with a green hue.
A mostly black-and-white image depicting the façades of two buildings - one is light grey with a turquoise fire escape, and the other is dark grey with a black fire escape. On the lighter building, the street-level storefront says "Mazeish"
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez.
A woman wearing headphones stands in front of a horizontal monitor displaying an image of two illustrated eyes and a nose. Behind the monitor, several framed photographs lean against a wall. A long, red carpet runs across the floor underneath the photographs.
Amelia Bande. Stills from El estallido / The Outbreak, 2020. Recording of a live performance held over Zoom on August 7, 2020. Stage design and camera collaboration with Rachel Higgins. Courtesy the artist.
Amelia Bande sits on the floor next to a pile of stones and leans on a cement block while holding a white rock in her hand. She sings, “it brings landscapes where I am not.”
Text superimposed across a deep green and blue image of architectural blueprints depicting both structures and topography. Small white text on the center right side of the image reads, "L.E.FT : SQUATVILLE / 03.09 - 05.01.2004 / ARCHITECTURE + DESIGN PROJECT SERIES." Large yellow text running up the left side of the image and arranged such that it reads from the bottom to the top of the image reads, "ARTISTS SPACE."
Three performers stand on a wooden floor in the middle of a room. Two performers on either side are dancing, while the performer in the center speaks on a wireless microphone. The audience surrounds the performers, sitting and standing, illuminated overhead by several round, hanging lights.
A black and white flyer displaying a large, square box. Positioned at the top edge of the interior of the box is large, sans-serif text that reads, "SCOPE." Smaller black text above the box reads, "Number 5 / Voume 4 New York City / Artists Space / summer video festival / June 4 - July 17, 1998."
A man stands in the center of a room holding numerous baby dolls, surrounded by several performers striking yoga poses and a small crowd. A makeshift geometric metal structure stands next to him, with a baby doll sitting in a crease of the structure.
André Breton, Young Cherry Trees Secured Against Hares (New York: View Editions, 1946). Collection of Daniel Buchholz and Christopher Müller, Cologne.
A halftone image of the Statue of Liberty printed in bright green and red ink. A cut-out of a black and white photograph of an older man's face has been pasted over the statue's face. The words "Young Cherry Trees Secured Against Hares André Breton" are printed around the body of the statue in green ink.
Christopher Wool, untitled (wool poster between bridges), 2020, 23.5 x 16.5 inches
A black and white image featuring a large, dark shape that resembles a plus sign. The plus sign sits at the center of a white backdrop covered by various irregular markings, including a large ink blot and print markings. While the surface of the plus sign is opaque, the background markings are slightly transparent. Small black text placed at the image's lower left corner reads, "2020Solidarity - Christopher Wool," while text placed at the image's lower right corner reads, "A project by Between Bridges."
A man stands on one foot on a half-rolled yoga mat, holding out a baby doll as if to throw it. Two people behind him are bent over yoga mats, mid-movement. A crowd of people stands around the group watching.
Fifth Season Act, Apotheosically. Performance documentation, May 31, 2012, Artists Space.
Close up detail of a sculpture composed of a large glass pane with a painted canvas installed in the pane's center. The back of the canvas faces the viewer, and faint words are penciled onto its surface. A golden tassle and necklce cluster and hang around the canvas' edge.
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, Artists Space, 2019. Photo: Daniel Pérez.
Installation view of several works in a gallery space. Twelve long wooden poles are mounted on a white gallery wall in a circular formation, projecting out from the wall and intersecting a line of black columns, forming a teepee shape. A large piece of brown linen stained with various black, white, and rust-colors hangs from the poles. Part of the linen drapes on the ground below the teepee structure. A wooden wardrobe stands against a wall in front of the structure. Several bottles filled with urine stand in a line behind the structure, in front of an abstract sculpture in the corner of the room. The sculpture contains a humanoid head, a TV monitor, and haphazard pieces of wooden and cardboard.
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich.
A miniature clay sculpture of a man sitting, cross-legged, in an armchair is displayed on a carpeted floor. A curled wire extends from underneath the edge of the carpet where it meets the wooden floor below it.
Hito Steyerl, In Free Fall, 2010. HD video with sound, 30 mins. Courtesy of the artist and Andrew Kreps, New York.
A view down an isle, between theater seating and blue track lighting, to a projected video screen. On the back wall, a still image of a man, in a pilots uniform, gestures toward the viewers with two fingers. Hito Stereyl stands behind him with her arm outstretched.
A group of people gathered outside in a semicircle around a performer. Some sit on benches, others on grass, and others stand. The performer is dressed in a long white robe and knee-length, high-heeled boots; their face is painted blue and they are speaking into a microphone.
The Library Vaccine. Installation view, Artists Space, 2014.
On a white table, to the left, sits a flutter book with a dot illustration increasing in density through the pages. To the right, a TV monitor displays a black and white image of a finger pressing the space bar on a type writer.
A white poster giving information about a virtual reading event. There are overlaid gray and white images of a statue of an angel with a sword, and two figures in beak masks. Orange texts reads “Frederic Tuten/Vi Khi Nat/Virtual Reading/18 April 2020/5:00 PM E.T./Artists Space x Segue Series/Zoom Meeting ID 378 232 576
Two photographs displayed side-by-side on a white gallery wall. The photographs are of identical size and are installed in thin, dark frames. The photograph on the left depicts a nondescript industrial building, while a tall urban building is visible in the skyline of the image to the right.
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez.
A poster showing a silver car driving through a selection of press clippings from newspapers on a blue background. At the top of the image, there is white text that reads, "PRESENTING AMERICA'S MOST TALKED ABOUT CAR!" At the bottom, white text reads, "DELOREAN."
A large, orange and brown stuffed slug sculpture is strapped around a Greco-Roman style columns on the facade of a cast iron building. The slug’s antennae point towards the blue sky. Further down the street are additional buildings, parked cars, and a Detour sign.
Installation view of She Who Is: Adrienne Kennedy and the Drama of Difference. February 29, 2020–Current. Image courtesy of Artists Space, New York. Photo: Filip Wolak
A close up image of vinyl text installed on a gallery wall. The header of the text reads, "She Who Is / Adrienne Kennedy and the Drama of Difference." Past this gallery wall, a large exhibition space is visible. Several old Hollywood films are projected on the space's far gallery walls.
Ken Okiishi, detail from Wish I Were Here, 1997 – 2001. Five archival inkjet prints. Courtesy the artist
Two small items in a white glossy frame, one is a photograph and the other a postcard. The photograph is a black and white image of a man standing, slightly hunched over, pasted on top of an image of a sailor. Beneath the photograph, a faded handwritten postcard reads in blue ink, "11 July 1997, Dear Cindy Sherman, I am lost - not physically, but emotionally. I am on a cruise ship to Greece with my straight best friend, who I am in love with. Acting like "The Girl" is getting me nowhere with him. Did it get you anywhere? Sincerely, Ken Okiishi."
James Coleman. Still from Seeing for Oneself, 1987-88. Black and white, 40 min.
A black and white film still of two people in period dress. One lies on a patterned couch, wrapped in sheets, while the other stands observing. Above the couch, a mirror on the wall reflects the scene to the camera.
Michael Asher, Installation view, Artists Space, 1988.
A corner of a white ceiling is crossed by silver electrical tubing. A single lightbulb is affixed to one tube and is aimed at the ceiling, illuminating a circle of the ceiling only a few inches above it.
Jean-Luc Godard and Anne-Marie Miéville. Still from Lei et ailleurs (Here and Elsewhere), 1970/1976. 16mm film transferred to DVD, (sound, color and black and white), 60 min. Courtesy Contemporary Films, London.
A person stands in line to hold up a black and white photograph in front of a Super 8 camera, as two people are lined up behind him.
Seth Price, Embrace of Tradition, 2007/2013, Collage with combination photo relief and inkjet print, 16 3/4 x 13 inches (42.5 x 33 cm), Edition of 10 + 1 AP, Signed & numbered on front.
A white framed image hangs on a wall. The image shows line-drawn diagrams of lightbulbs. Above the diagrams it reads, "Fig. 1" and "Fig. 2." Above that it reads, "(no. model) T.A. Edison / Incandescing electric lamp / No. 341839 Patented May 11, 1886." Below the diagram it says, "Attest [with signatures below] inventor [with signatures below]." collaged on top of the print is a saturated red and blue flower at the bottom right and the word "light" in cursive on the top left.
Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez.
Four clusters of photographs are mounted on a white gallery wall. Some of the photographs are black and white, while others are in color. All show images of a single or groups of figures. On the far right, a small projection of a man in a white shirt illuminates the wall.
A dark illustration featuring a small, white dog at the composition's lower left edge. A black, inky background vaguely resembling a forest surrounds the dog, who pauses mid stride to glance behind itself.
Based on a True Story. Installation view, Artists Space, 2004.
A wide shot of a gallery space with three columns. At the base of one column is a colorful, flat piece. On the large wall behind that column, three paintings hang in a horizontal line. To left of that, several framed drawings are arranged in a horizontal line. Against the perpendicular wall, there is a plinth with a television and several headphones.
Mr. Dead & Mrs. Free: A History of Squat Theatre. Installation view, Artists Space, 1996.
A room with two chairs facing toward a low table with a small monitor and assorted bottles. There are two windows, both blotted out with smears of paint. A large sculpture of a person with crouched legs and their arms above their head is suspended from the ceiling, with a second smaller head emerging from between the squatting legs.
Witnesses: Against Our Vanishing. Installation View, Artists Space, 1989. Photo: Frances Miller Smith.
A wide view of a gallery. A sculpture including two small tables is next to a column in the center of the room. The far wall is hung with paintings and photographs, and a monochormatic white sculpture of a human figure hangs from the ceiling.
Hito Stereyl, excerpt from In Free Fall, 2010, HD video with sound, 30 mins. Courtesy of the artist and Andrew Kreps, New York.
A moving image of a man, dressed in a pilot uniform, in front of a panning image of Earth from space, holding a laptop. The camera zooms in on the video playing on the laptop screen of a man releasing his parachute while skydiving.
Dexter Sinister (Stuart Bailey and David Reinfurt): Cover Material, 2010 Custom archival box, 24 1/2 x 20 1/2 x 1 1/2 in / 62 x 52 x 4 cm, Wrapped in “Cialux 1580,” manufactured from direct dyes in aqueous solution by Manifattura del Seveso, Osio Sotto, Italy, Accompanied by: A List of Incorrect Things, 2010 Nick Relph Offset print 6 2/3 x 11 in / 17 x 28 cm, Signed and numbered by Stuart Bailey and David Reinfurt.
Two rectangular boxes lying next to each other on a white background, with a small shadow. The left box is black. The right is white paper, with a black border, and it has two columns of very small red text, offset to the bottom left of the page.
A photo of a room full of people seated at three long, rectangular tables. Each table has numerous glasses of wine, sparkling water, candles, and empty plates of food. In the foreground, people are talking to each other and smiling.
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez.
A photocollage of the same image, a man opening a car hood, repeated 14 x 4 times includes has been altered with white, yellow, and black paint in individual photographs. These include scenes such as fire, melting, and the addition of new characters.
Benita-Immanuel Grosser, Participating, at the same time, 1996.
A room divided by a glass partition. On the righthand side, the walls are blue with a wooden floor, and a square artwork painted with stripes hangs on the wall. On the lefthand side, the floor is light blue and covered with dark blue mats placed at even intervals. A white, folded towel is placed on each of the mats.
A glossy black frame surrounds a painting of a man in a grey suit seated at a table. The man is wearing a white earpiece and is leaning forward towards a microphone. His fingers are tented on top of the table in an emphatic gesture.
Social Surfaces. Installation view, Pearl River Mart, 2017. Photo: Ron Amstutz.
A wooden platform on wheels surrounded by a border of small poppy red brick-like sculptures, that continue to surround the base of a white pole. Sculptures and paintings are visible on the back wall behind the wooden platform.
Wolfgang Tillmans, Speedmaster #2, 2011, Offset print on paper, 47 1/4 x 48 3/8 in / 120 x 122,9 cm, Hung with two metal brackets, Edition of 170, Signed and numbered, Printed on LuxoArt Velvet 200 gsm paper with Speedmaster XL by Dr. Cantz’sche Printshop, Ostfildern
A large, square, sheet of paper, which has been folded into a 4x4 grid, unfolded, and hung on a white wall, leaving the creases. It is covered in a four-color gradient, from dark red, green, blue, to black, left to right, roughly not overlapping with the creases.
Betty Tompkins, Sex Painting #4, 2013, 23.5 x 16.5 inches
Painting depicting a close-up image of a figure's mouth licking the top side of a foot. A large thumb is pressed against the bottom of the foot, holding it up to the mouth. The painting is composed of soft, muted gray and purple hues. A white band stretches across the lower edge of the image. Black text running along the center of the image's bottom edge reads, "2020Solidarity - Betty Tompkins," while small, faint gray text running along the lower right edge of the image reads, "A project by Between Bridges."
DUOX: DUOX4Larkin. Installation view, Artists Space, 2012. Photo: Daniel Pérez.
A glass case filled with colorful paraphernalia sits on an orange table. The case is bound lengthwise and widthwise with straps. On top of the case sit two magnifying glasses and several stacks of plastic cups.
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez.
Detail view of a table filled with several stacks of a book titled *EINE PINOT GRIGIO BITTE*. The book covers appear in various shades of orange, pink, blue, yellow, and green, and are stamped with the same ornate Latin emblem. Some are comb bound and others are side stitched.
"Identity". Installation View, Artists Space, 2011. Photo: Daniel Pérez.
In a dimly lit room with light wood flooring and white pillars, three illuminated screens are suspended side-by-side from the ceiling. Two of the screens are off. The screen to the far left displays an image of a 19th century painting of a female bartender.
Allan Berliner, still from Intimate Stranger, 1991.
Black and white image of four men resting near a large, rigged tarp providing shade on a beach. Three of the men sit and recline on the sand, wearing white button-down shirts and trousers. The fourth man wears a hat and stands behind the men.
James Coleman. Still from Seeing for Oneself, 1987-88. Black and white, 40 min.
A black and white film still of a person with a white beard wearing an apron seated in front of a workbench covered in glass bottles and scientific instruments. He holds an hourglass and the wall behind him is lined with dials.
Ming Joon Art. Installation view, Artists Space, 1988.
A photograph of a gallery space with white walls hung with artworks. In the foreground is a large painting that takes the form of a map of Korea. In the background, another gallery with more artworks is visible.
A black and white drawing of a chair inside of a circle. Above the illustration, text announces an audio-visual installation by Bradley Wester, with details noting the collaborators, time, and place. Under the illustration, text reads, "Still Sitting / He reads to me. My blood rises to leave, to escape the underneath. I am dead. I am new. I was safe in his arms asleep to the sound of the chair creaking with the turn of each page, a story. I am still sitting. Where will I go?"
A crowd of people crowds around a temporary wall. In the foreground is a bookstore, while behind the wall and doorway, there is a screening room, with a video projected on the far wall. Overhead lights cast an orange glow
Two paintings and several sculptural elements are installed in a corner. The paintings, one in an oval frame and the other rectangular, have figurative subjects of humans and animals. A whimsical end table is illuminated by a light fixture shaped like a flowering plant whose stem extends from a patterned curtain hung against the wall.
A series of metal cutouts shaped like curved "x"'s hang on lengths of metal chainlinks in a gallery space. The rows of cutouts overlap, forming a hedge-like sculptural body. A gallery hallway decorated with vinyl reading "ARTISTS SPACE" is visible through the overlapping cutouts.
Willie Cole A.R.T. (in the new world order), 1994, Oilstick on framed blackboard, 18 x 24 inches (45.7 x 61 cm), Signed & numbered.
A black chalk board displays various words written in white chalk. The word "ART" in all caps boldly appears as a header and twelve additional words are written below. Four words are crossed out with red chalk.
A digital rendering of a large structure composed of suspended sheets of red material installed in a gray room. The red sheets are stacked on top of one another, suspended from lengths of wire that run from ceiling to floor. The sheets bend amorphously and are arranged such that they resemble irregular layers of sedimentary rock or strata. Three digitally-rendered figures observe the structure.
A gallery room filled with various sculptures and objects. There are four plinths of varying heights with black, white, silver, and mirrored surfaces. There are three televisions sitting on the floor against a white wall. On the other side, there are two projectors sitting on a table projecting small images on white walls. In the foreground, a rectangular cube painted like bricks is wrapped around a column.
A large exhibition space with light wood flooring, wide windows, and white columns fills with gentle daylight. The far windows and walls the space are covered in white, semi-translucent curtains, which gently glow.
A dimly lit gallery space with wooden flooring. Three large, rectangular photographs of various buildings’ architectural details are suspended from the ceiling, hanging on thin wires. Two of the images have been printed on a tarp-like material, while the image on the far left is suspended within a large sheet of transparent plexiglass.
On a white wall two artworks on paper and of the same size hang side-by-side. On the left, nine pencil drawings in no order depict the same figure from different angles. On the right, nine small blocks of text with white letters on a black background sit in orderly 3 x 3 rows.
Salad Days 3. Installation view, Artists Space, 2008. Photo: Jeremy Ross.
Several geometric structures of varying sizes are displayed in close, overlapping clusters in a gallery space. The largest structure of the group nearly touches the gallery ceiling is composed of an array of flat pentagons that form circular, symmetrical patterns. Behind this structure is a large archway-shaped wall decal showing further colorful arrays and patterns. Several other, smaller pieces with similar geometric forms cluster on the floor around these structures.
Two figures illuminated by a circular spotlight in an interior space. A mirror leans against the wall directly behind them. One figure stands in a brown suit, their hands behind their back. They are blindfolded. A second, mostly nude figure crouches directly below them.
Apartment Show: If the dogs are barking. Installation view, Artists Space, 2009.
A small stack of papers sits on a white, square tile in a gallery space with wooden floors. Directly behind the stack of papers, a black couch sits back-to-back against a wooden reception desk and counter. Several framed and unframed drawings, photographs, tote bags, and posters hang on the wall behind the reception desk.
John Neff, Authorization Sessions Set: Proof prints from Time Dust, 2013 – 2018, 2018. Photo: Daniel Pérez.
Five photographs arranged in a pane of glass lean on bolts against a wall. The images in the photographs (from left to right) include a man exhaling smoke, a man looking towards the viewer, a man in a bathtub, a man, turned away from the camera, in a hospital gown, and an empty dinner plate.
An abstract painting depicting several geometric figures against a turquoise background, arranged on either side of the canvas. Each figure has a green or brown outline and various colored patterns inside. Several outlined circles and squares grid across the background of the image
Two women in front of a white wall. They are dressed in matching white jackets and short white skirts, and each wear a set of colorful rollerskates. One woman is on her toes with her arms extended behind her, reaching for and pulling the second woman who is leaning forward to grab her hands.
Flyer featuring three computer-generated shapes: a sphere, a curved plane, and a flat plane. Each of the shapes is black, covered in a white grid pattern, and features a warped image of a red triangle. The shapes sit on a blue and yellow gradient background. Red sans-serif text positioned at the top and bottom of the image reads, “artists space & / the segue series / present a / reading by / Dia Felix / and / Jeremy / Hoevenaar / saturday, may 16 / 5pm nyc time / zoom id: / 378 232 567 / be there or be non-euclidean.”
A catalogue cover design featuring a black and white illustration of the head of a bear. Large, black serif text above the bear's head reads, "Art's Mouth," while smaller white text positioned underneath the bear's head reads, "May 16-June 29, 1991 ARTISTS SPACE"
Close up of three figures standing side by side. The figure on the right raises a fist in the air and appears to shout towards the figures on their left. They wear glasses and an intricate, gold and black collar piece. The figure directly to their left gazes downwards, pressing their fingers to their temples.
A photo from behind the performer, looking out at a room full of people. The performer is seen in silhouette, sitting at a table, illuminated by a lamp on the table. Copies of the book *Here is Information. Mobilise.* are stacked across the table. Behind the audience, there is a projected video of an Arabic news channel.
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez.
Three paper bags photographed at an angle sit on pedestals. Closest to the camera, the bag has been painted with white and blue foliage, and collaged with a drawing of Africa. The two, farther bags portray drawn portraits of men.
A figure wearing all black lies on their back on a concrete floor. Their hips and knees are lifted off the floor, with their hand holding a dangling microphone by the cord. There is a crowd of people arranged in a semi-circle behind the performer, and disordered empty chairs in the foreground.
An installation shot of a room warmly lit by yellow and pink light. There is a low-hanging disco ball, surrounded by various objects set on the floor, including a vase with flowers, a second disco ball, strands of string lights, and more.