A city-scape is positioned upside down, the point of the skyscraper reaching towards the bottom of the image. Googley eyes, eyebrows, and a mouth are drawn near the top of the building. Red serif font across the top of the image reads "The New Red Times Magazine." White serif font in the bottom left corner reads "TIRED OF LIVING ON STOLEN LAND?" Below, red serif font reads "GIVE IT BACK."
A circular print of a painting hangs on a lavender wall. The painting depicts two white women wearing dresses with crinoline hoop skirts that appear to be from the antebellum period before the US Civil War, surrounded by a pink mat and a gold frame. It hangs over a coffee maker and next to a vacuum cleaner and a wood armoire. Bed pillows, positioned in the foreground, are lightly reflected in the glass of the print’s frame.
[A flatscreen television hangs on a lavender wall. Playing on the television is a news desk in a tv studio that reads in pixelated text, "Retire Right Television." On the bottom of the tv screen is a blurry reflection of a white person who is gesticulating with their hands. Beneath the television, a bottle of hand sanitizer, an analog clock, a cable box, and a DVD player rest on a dresser, next to a white door showing its locks and handle.
Six figures standing around a line of music stands in an interior space with concrete flooring and industrial columns. Some of the figures lean against the columns, their hands at their sides or casually crossed at their chests. Five of them stare at an isolated figure situated in front of the line of music stands, holding a black binder. She turns to gaze back at the others, illuminated by overhead lights as she speaks.
A diagram superimposed across a blurry image of a wooden folding chair facing a small wooden bookshelf filled with colorful books. The diagram is composed of a simplistic icon that loosely resembles an open book. Circling the book icon are several hand-drawn arrows that point to various handwritten words and phrases, such as "PDF's" and "Followed remotely." Below the book icon are hand-drawn drops of liquid and a puddle.
Fifth Season Act, Apotheosically. Performance documentation, May 31, 2012, Artists Space.
A sculpture composed of a large glass pane wedged into the center of a square concrete block sits in a gallery space. A painted canvas is installed in the pane, displaying a large number "5" on its surface, surrounded by peach and pink hues. Various ornaments are installed on the painting or drip from it, such as red string, golden tassles, necklaces, and other ornaments. A brown, dirt-like material is spread on the floor around the sculpture.
Richard Prince, Oedipus Schmedipus, 1994, Screenprint on white T-shirt Stretched over canvas in white lacquer frame, 25 1/4 x 19 1/2 in (64.1 x 49.5 cm), Edition of 26, Signed & numbered.
The image shows a white t-shirt in a frame with text printed on top in a wavy text that says, "A mother is having a very tense relationship / with her fourteen year old son. Screaming and / fighting are constantly going on in the house. / She finally brings him to a psychoanalyst. After / two sessions, the doctor calls the mother into / the office. / "Your son," he tells her, "has an Oedipus / complex." / "Oedipus, Schmedipus," the woman answers. / "as long as he loves his mother."
Flyer for Segue Reading Series featuring Marie Buck and Peter Inman. Saturday, January 30, 2021, Artists Space.
An image of a cat laying on a persons lap. The cat is holding an Ipod Nano displaying a skateboarder. Neon green text over the top half of the image reads, "Marie Buck / Peter Inman". Black text in the center left of the image reads, "SEGUE." Black text on the bottom half of the image reads, "30 January/ 5PM EST."
Sam Pulitzer: A Colony for “Them”. Installation view, Artists Space, 2014. Photo: Daniel Pérez.
A freestanding white wall displaying a metal plaque engraved with paragraphs of text juts in front of another angled, white wall in an exhibition space. A large paragraph of wall vinyl text is displayed on the second, angled wall.
Martha Wallner and Miriam Loaisiga. Still from Con Guerra O Sin Guerra (With or Without War), 1987. Video (sound, black and white). 20 minutes. Spanish with English subtitles.
Two figures are sitting at the table with one hand tightly gripped to the other. Four men stand behind them looking on and partial text on the wall is visible in the background. Subtiltes burned onto the bottom of the image read,"I'm sorry, I mean Mercedes won and Solis lost." Scan lines in the image and the outer box of a CRT monitor are visible.
She Who Is: Adrienne Kennedy and the Drama of Difference. Installation view, Artists Space, February 29 – September 19, 2020. Photo: Filip Wolak.
Six glass vitrines displaying books, photographs, and other paper ephemera are installed in the center of a gallery space. A series of old Hollywood films are projected on the back wall of the exhibition space.
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.
I Thought I Had Time. Installation view, Artists Space, 1992.
A series of rectangular panels and tiles of varying dimensions installed on a white wall. The installed elements are positioned adjacent to one another, forming a larger irregular shape. The panels feature black, white, and muted colors. Some feature abstract painted compositions and color blocks, others include text or line drawings.
Hilary Lloyd. Installation view, Artists Space, 2011. Photo: Daniel Pérez.
Two screens are mounted, one above the other, on two metal poles. They show a single image split across the two screens of a black fabric with white dots, zigzags, and lines. In the background, there are two more screens mounted vertically on two metal poles. They show a black image with white light spots.
The Mind/Body Problem. Installation view, Artists Space, 2006. Photo: Alan Wiener.
A painting of a black, rectangular object on an orange backdrop. Below is text in black reading "ENTERTAINMENT CENTER." Red text on a yellow background in zigzagged circles reads "Fully Assembled" and "$199."
An anatomical, drawn figure of the interior of a human ear. Small lines of serif text placed below the image label the various parts and nerves on the ear, which are labeled with corresponding numbers on the drawing.
Wade Guyton, Untitled (WG3521, 2015), 2020, 23.5 x 16.5 inches
Image of a large white canvas displayed on a white wall. The canvas is rectangular and two faint lines bisect each of its four sides, separating the canvas into four equal quadrants. A black "X" shape is emblazoned across the canvas' center, with the lower left leg of the "X" removed from the shape's figure. The floor below the canvas is a deep black color. Small, gray text at the image's lower right corner reads, " 2020Solidarity - Wade Guyton."
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez.
Two large, orange slug sculptures forming a circular ring shape around separate cast iron columns suspended by black elastic chords in a white walled gallery space with a square painting in the background.
Apartment Show: If the dogs are barking. Installation view, Artists Space, 2009.
A long, thin metal pole attached to a round base sticks into the air at a jaunty angle in a gallery space. Several metal clamps are attached to the bottom third of the pole. A collection of photographs, drawings, and paintings are framed and hung on the gallery wall behind the metal pole.
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.”
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez.
A light, mauve-colored wall in an exhibition space displays a pink and white canvas. The canvas is slightly three-dimensional, with elements that stretch in or out from its surface. In the background, a cool-toned canvas of a similar style hangs on a wall.
A green poster with white text giving information about a virtual reading event. There is an image at the bottom of a person looking into digital, VR-style goggles with large headphones. Smaller white text in the bottom corner reads, "stay well & be good to each other."
John Neff, Authorization Sessions Set 2018: Manhattan Project, 2018. Photo: Daniel Pérez
A monitor on a wheeled stand is displayed in the corner of two white walls. The monitor projects an image of a whiteboard with hand written text that reads, "People think because, People lie others..., People ignore..." circled in red, green and blue. A green office swivel chair with headphones is placed in front.
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt.
Black and green sans-serif text decorating a white gallery wall. Large, green text stacked vertically reads, "lines of loss." Smaller, black text superimposed over each of the green lettered words reads, "gabriel kuri damian ortega manuel rocha mauricio rocha guillermo santamarina." A small wall label below the text notes the exhibition's sponsors.
Salad Days 2. Installation view, Artists Space, 2006. Photo: Bill Ocrutt.
A slide projector sits in a dimly lit corner of a gallery space. The device projects an image of rocks and other debris onto a poster hung on the wall, which lists various statistics related to The Letchworth Village, a residential commuinty in Rockland County, New York. A second poster hangs on a wall to the left of the slide projector. A stack of papers rests on a small support below the poster.
A red leather armchair with a coffee table on a gray rug in the corner of a room. On the coffee table, there are several books, a lamp, and an old radio. On the opposite wall, there are three photographs each showing the view out of three different windows.
In an otherwise empty, white-walled room a wooden folding chair faces a wooden bookshelf with three shelves. Several clusters of colorful books rest on the bookshelf. To the left of the bookshelf is a square white bin which holds several more folding chairs.
Selections from the Artists File. Installation view, Artists Space, 1988.
A view of a gallery space with concrete floors, white walls, and white columns. In the foreground, a grouping of five striped cylinders of varying sizes are placed on the floor. Other works are visible in the background.
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.
Flyer for Segue Reading Series featuring Michael Gottlieb and Duriel E. Harris. Saturday, October 3, 2020, Artists Space. Artist: Keith Higginbotham
A cut-out reproduction of a painting depicting a figure being beheaded is collaged over a black and white photograph of a renaissance style interior. Black text over the top half of the image reads "Michael Gottlieb / Duriel E. Harris," and in the bottom corner black text reads "Segue."
Catalogue cover design featuring a black and white photograph of a series of animal skulls arranged on a back backdrop. The skulls vary in size and shape, and many have large, fang-like teeth. Small white text running along the cover's lower edge reads, "reconstructions Jim Rittimann march 14 - may 4, 1991 Artists Space."
Anne Collier, Tear Sheet, 2010, Digital C-print, 23 1/3 x 20 in / 59,2 x 50,8 cm, Signed and numbered certificate.
A color photo advertisement for an Olympus OM-10 camera, depicting a woman holding the camera and smiling, looking just past the viewer. The image is titled "CHERYL TIEGS PRAISES HER FAVORITE MODEL." A short interview is printed at the bottom right of the image, where Cheryl goes back and forth with an "interviewer" about her love of the camera.
BGL, Elevator, 2007. Site-specific installation. Courtesy the artists. Photo: Bill Orcutt.
A third floor entrance off of an elevator. Beyond its black-floored vestibule is a large object standing at an angle inside the doorway. It emulates the interior panels of an elevator. A partially obscured sign saying "ARTISTS SPACE" is visible in the room beyond the doorway on its far wall.
Mark Morrisroe. Still from Hello from Bertha (1983).
A person is seen in profile, speaking to someone out of frame. They are wearing a glittery gold top with a pink fur neckline and beaded necklaces of different colors. They have large flower-shaped earrings and colorful makeup, including blue, shiny eyeshadow. Their dark hair appears to be covered by a bleached wig.
The Library Vaccine. Installation view, Artists Space, 2014.
An angled view of a room with a set of two tables and chairs, books resting on the tables, in the center. On the back wall hangs a banner in red painted text, reads "...Pessimism of the intellect, Optimism of the will... Gramsci." On the right adjacent wall, text covers the whole height, the title reading, "Vigilance:"
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez.
A large red carpet extends across the length of an exhibition space next to a windowed wall. A long line of framed photographs lean against the windowed wall. Two figures examine the photographs and additional artworks displayed in the space's background.
Seth Price,Postcard Style Place, 2018, 23.5 x 16.5 inches
An image featuring an oblong golden form whose top portion has a shiny, defined metallic surface. Its bottom half, however, has a liquid-like, transparent, and cracked texture. It sits on white background decorated with a swirling yellow line. Blue text that reads, "NEWYORKCITY" emerges from the image's bottom edge and is arranged such that the text reads vertically. Lines composed of small blue dots radiate out from the text's right side, running over the golden form. Small black text at the image's lower left corner reads, "2020Solidarity - Seth Price."
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Gustavo Murillo Fernández-Valdés.
Three yellow-toned paintings hang at eye level, adjacent to four black viewing boxes installed on a gallery wall to the right of the canvases. A kite hangs from the ceiling in the middle of the exhibition space, its tail touching the floor.
The facade of a cast-iron building with three double door entrances. Real estate listings are illuminated within the windows inside each door. In red tinted transoms above the doors are the letters N, R, O in eccentric white lettering.
Beth Campbell, Four Eyes Are Better Than One, 2007. Site-specific installation. Courtesy the artist. Photo: Bill Orcutt.
The corner of a small white room features elements implying that it's a bathroom: a sink, a blue trash bin, and a hot-water heater are below while a wall-mounted paper towel holder and a non-reversing mirror hang above.
19 thinly outlined boxes arranged in columns of decreasing height on a black background. Each box contains a glowing, symmetrical, orange and purple geometric shape of varying complexity. In each box's lower right corner, white text lists three coordinates. There is a gradient key from purple through orange and yellow to white, with a minus sign at one end and a plus sign at the other, and above that, a complex mathematical formula. In the upper righthand corner, white text reads, "Betsy Fagin and Alan Felsenthal" and "sat, 5/23 / 5pm nyc time / zoom id: 378 232 567."
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."
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez.
A side projector projects an image of a figure in an elaborate dress onto a freestanding wall in the middle of a gallery space. A mannequin wearing a decorative orange costumes stands to the left of the projection. In the background, a video monitor sits on a table and framed documents hang on the walls.
Carissa Rodriguez, You Know the Rules. You Fall in Love. You Lose. Filmed by Jordan Lord, recaptured by Rodriguez through her Pokémon Go app.
An animation of two screengrabs from a phone, each showing the Pokémon "Gastly" above a computer screen with text reading "Whenever you do not understand what's happening in your life, just close your eyes, take a deep breath and say, "God I know this is your plan just helpme through it."
DUOX: DUOX4Larkin. Installation view, Artists Space, 2012. Photo: Daniel Pérez.
A brown object housed in a mirrored glass case. An inscription on the case's surface reads, "BRAINWASH 408-983-2800." The case itself is enclosed in a larger glass vitrine supported by a white and orange table.
Ming Joon Art. Installation view, Artists Space, 1988.
A photograph of building facades in Manhattan. Hanging on the central facade is a piece of white fabric the length of two stories. On the white fabric, there is a gestural painting of in a figure grapsing another figure from behind. Below them is a line of text in Korean.
A black and white photograph showing a room filled with various standing lights and assorted objects sitting on the floor. Two people are standing, their outlines casting shadows on a white wall with the word "TIRANNY" handwritten in large, block letters.
U.S. Projects: Peter Shelton. Installation view, Artists Space, 1982.
A large square edifice with an opening in its center bottom held up off the floor with numerous steel rods on its sides in a gallery setting. A shadow of a human figure appears/disappears in front of the work.
Living with Pop. A Reproduction of Capitalist Realism. Installation view of the section “Kaiserstraße 31A (1963),” Artists Space, 2014.
A wall-sized, black and white photograph of chair and man in front of a train car is adjacent to an angled wall displaying photographs and documents behind glass. In the right hand foreground is a 35mm projector.
Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979). Installation view, Artists Space, 2011. Photo: Daniel Pérez.
A long rectangular wooden table with three TV monitors facing outwards on different sides. Six small wooden seats with wired headphones resting on them are arranged in front of the monitors. One visible screen displays an image of a man sitting at a table.
Charlotte Posenenske. Configured by Ei Arakawa. Installation view, Artists Space, 2010. Photo: Daniel Pérez.
A geometric, silver metal sculpture sits on a roll of brown paper spread across a wooden gallery floor. The sculpture is modular and consists of triangular metal components. Gray text, in German, is subtly printed across the paper. Two long rips appear in the paper's surface, as if created by the sculpture dragging across the paper's surface.
A collection of cartoonish monsters, cutout photographs, and medieval-style drawings are collaged onto an abstracted pastel image of a sunset peeking out over ocean waves. Green, red, and blue text in serif font reads: "The Segue Reading Series & Artists Space present / a virtual reading by / Shane McCrae & Bob Perelman / Saturday, 4/25 / 5pm NYC time / Zoom ID: / 378 232 567.
Untitled (scrapbook), date unknown, Copyright Jack Smith Archive, Courtesy Gladstone Gallery, New York and Brussels
A light colored paper with four photographs. Two images are the same, which feature a scene involving people and various props. The photograph at the top right features a man with a blue face posing next to a black and red sign. The image at the bottom left includes three people posing near one another.
Nina in Position. Installation view, Artists Space, 2008. Photo: Bill Orcutt.
Several photographs and sculptures in a large gallery space with wooden floors and white columns. To the left of the space is a white sculpture forming a rig-like structure, with two wing-like appendages at its top. A large animal skull rests on a triangular support mounted to the gallery wall on the left. Glass panes with red liquid spread across them rest on the gallery floor in the image's center.
Stéphanie Smith, still from Untitled (Tissue), 1994. Video.
A close up, blue and white halftone image of a figure wiping their mouth with a handkerchief. Their mouth is partially open, exposing their teeth, and a lipstick-like material is smudged around their mouth.
Several students sit, looking down towards printed sheets of paper, in front of colorful silk banners with writing stating "Your dreams can become a reality," "like a cheetah in a snail's race," "bridge can just go like boom bom boom BOOM," "I see a light it's so BRIGHT -Destiny" and others.\
Flyer for Segue Reading Series featuring Diana Cage & Jackie Ess. Saturday March 20, 2021, Artists Space.
A yellow colored background features black text in the top half of the image that reads, "Segue Reading Series / Diana Cage & Jackie Ess / March 20 / 5pm on Zoom / Suggested donation: Five dollars / Zoom ID: 830 2698 4031." Black text in the bottom right corner reads, "Artists Space."
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.
KP Brehmer Das Gefühl zwischen Fingerkuppen... , 1967 80 copies+ 40 artists proofs, signed and numbered screen print on cardboard, folded, 60 x 36 x 10 cm Courtesy of Edition Block, Berlin
An illustrative, yellow, white, and pink image of a woman, holding a cigar to her mouth, in profile view. At the top right corner in white text reads, "Das gerfül zwischen fingerku ppen." Below a white paper decends with smaller images of various vegetables.
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.
Collaged image of two naked figures crouching on the shore of a beach as the sun sets. One reaches out to grasp the other’s arm as they stare into each other’s eyes. Below them is a collaged image of a metal, machine-like contraption with looping wires sitting on the ground next to a craggy rock.
Salad Days 3. Installation view, Artists Space, 2008. Photo: Jeremy Ross.
Several sculptures and 2D works sit in a large gallery space with wooden floors and white columns. To the right, a stool-like object sits on a white plinth, illuminated by a bright overhead light. On the ground in the center of the image, an overturned cardboard box rests on the floor. A colorful structure resembling a well is installed in the background.
Six figures each stand before a music stand in front of a seated audience. They are arranged side by side in a horizontal line, illuminated by overhead lights. A figure at the group's center is speaking. Their outstretched hand gestures towards the crowd.
Stylized white text on a tan background reads, "Western Agenda." Small black text above the white text reads "March 14-May 4, 1991 / Artists Space" while several lines of smaller, spaced out text spells out words such as, "courage" "hardwork" and "prosperity."
Adrienne Kennedy, Funnyhouse of a Negro, 1964 (East End Theater, New York, directed by Michael Kahn, produced by Barr, WIlder, and Albee). Pictured: Ellen Holly and Cynthia Belgrave. Photo: Frederick Eberstadt.
Two people in white face paint and fanciful dresses crowd around a crudely constructed wooden desk that sits off-kilter. One sits at the desk and applies makeup while the other stands to their left, gazing beyond the image.
LaTasha N. Nevada Diggs, Twerk (New York: Belladonna Books, 2015).
A book cover design featuring large pink text that reads, "TWERK" against an abstract turquoise background. Parts of the letter "K" and "T" extend off the page and have been overlaid with a lacy ribbon pattern.
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez.
Seven vertical light blue panels, positioned side-by-side, displayed on a light mauve wall. Each panel contains a white circle positioned near its vertical center. Within each circle, the panel's canvas is stretched outward by a dowel.
Rip It Up and Start Again. Installation view, Artists Space, 2010. Photo: Daniel Pérez.
A large photo decal runs along the entire length of a long, horizontal wall in a light-filled gallery space with wooden floors. The photo decal depicts a to-scale, warmly-lit domestic space. A wooden chest of drawers, radiators, various shelves, and a low bed covered in a quilt fill the space. A dart board hangs on the wall, along with various paintings.
Mr. Dead & Mrs. Free: A History of Squat Theatre. Installation view, Artists Space, 1996.
A gallery space with two white columns bisecting the room. There are black and white images on the wall and a large sign suspended from the ceiling with red letters reading "squat." Behind the sign, a large seated baby with glowing eyes is visible through a paned window.
Too Black, Too Strong! Installation View, Artists Space, 1988.
A black and white photograph of a mixed media collage hanging on a gallery wall hanging opposite of four mixed media collaged in frames with a back-projected slide image of two faces centerd in the image with a dark curtain covering its surroundings.
Till They Listen: Bill Gunn Directs America. Installation view featuring various ephemera from Ganja & Hess, c. 1973, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak
A close up of a glass display case holding multiple images and text.
Alza Tu Voz, back porch, exhibition at Dykeman Farmhouse Museum, 2017
A photo of the exterior of a building, with several colorful portrait paintings lying on the wooden porch. One has text stating "no te dejes oprimir." A large poster hangs on the door to the building, with the title "Alza tu Voz"
Ben van Berkel: Mobile Forces banner detail, Artists Space, 1997.
Several black and white images collaged on a black background. Some of the images are photographs of various buildings, bridges, and other structures—some in the process of construction. At the bottom of the composition is an alien-like image of a man with dark eyes and a large nose.