-
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.] -
Wish I Were Here. Photo: Alexandra Stock. [A young boy with his arms outstretched leans against a wall. The wall is covered with a larger than life photograph of a crowd of people holding flags and signs, as in a protest or a rally.] -
Anne Charlotte Robertson. Fall to Spring (Reel 76 of Five Year Diary), 1991-92. [A grainy, black and white close up of a person, their face partially in shadow.] -
Michael Asher, Untitled. Installation view, Artists Space, 1988. [In the corner of a room, close to the ceiling, is an industrial light fixture. The lightbulb is on and faces up towards the ceiling.] -
[Eight pieces of paper with text in various languages arranged in a grid.] -
Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [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.] -
Selections from the Artists File. Installation view, Artists Space, 1989. [A photograph of a low-ceilinged gallery space. On the right, drawings on black paper are arranged in grids and arches on the wall. On the left, electrical equiment sits on top of a pedestal.] -
Shayla Aviles, Untitled, 2018 [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"] -
Sharon Halliday, Shaded Times, 2014 [A black-and-white image depicting several translucent photos overlaid, some of natural plant life and others of industrial scenes, with power lines and bridge spokes] -
The Friends of Artists Space Dinner, May 8, 2010. Julie Ault's speech. [A woman in a dark dress with shoulder-length auburn hair stands before a microphone in a gallery space, reading from a sheet of paper. She looks up from the paper to gaze in front of her.] -
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.] -
Jamil Shammout and Michel Najjar paint the banner for The International Art Exhibition for Palestine. Beirut, 1978. Courtesy Claude Lazar [Two men drawing on a large cloth sign in Arabic and English, stating "INTERNATIONAL ART EXHIBITION FOR PALESTINE".] -
John Miller, The Ruin of Exchange and Other Writings on Art (JRP Ringier, 2012). [A book cover depicting a a desert with a hollowed-out egg shaped rock in the foreground and a tank in the background.] -
The Body Politic. Installation view, Artists Space, 1991. [A black and white photograph of four sculptures resting on slightly elevated rectangular plinths. The sculptures are constructed of metal molded into headless and limbless humanoid body shapes.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [The bright beams of a projector cut through the fog filling a basement room. An image is projected onto one of the space’s walls. Several figures talk to each other in the background.] -
[A computer rendering of a purple and amorphous form composed of long, extending tube shapes on a white background.] -
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.”] -
It's Get Better IV, 2016. [A large crowd of people talking with one another. A bar and bartender are visible from behind, serving the crowd.] -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$2,500
[A yellow object with a cracked surface sits on a white base. A metal antenna extends out on a diagonal.] -
Laurel Woodcock, (Untitled), Neon Quote, 2005. Neon sculptures. Courtesy the artist. [The exterior of a Soho building at night from the opposite street corner. Inside the third floor are two glowing blue neon quotation marks visible from outside.] -
Cheyney Thompson, Untitled, 2015, Offset and metal powders in acrylic binder on synthetic paper, with handwriting, 22 ½ x 19 in / 57,2 x 48,3 cm, Each unique with hand notation [An abstract, gestural drawing in neutral tones, with the names of metal elements at the bottom of the page.] -
View of Vigilance: An Exhibition of Artists Books Exploring Strategies for Social Concern , Curated by Lucy R. Lippard and Mike Glier Franklin Furnace, 1979 Courtesy Mike Glier [A woman sits, left of center, at a table filled with books. On the wall behind her, a banner with red text that reads, "...Pessimism of the intellect, Optimism of the will... Gramsic," is displayed.] -
Peter Saville, Bespoke archival box with hand-marbled paper and band, 24 1/2 x 20 1/2 x 1 1/2 in / 62,2 x 52 x 3,8 cm, Signed and Numbered. [A print of marbled, amorphous forms in blue, grey, and white is centrally intersected by a horizontal orange band.] -
Tom of Finland: The Pleasure of Play. Installation view, Artists Space, 2015. [Two illustrations hung on a wall. On the right, a naked man inserts his penis into the a globe. On the left, a man gazes up at a rendering of Michealangelo's "David."] -
UniBodies. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [An abstract sculpture with a chrome finish is displayed on a white pedestal. The sculpture's form includes amorphous voids alongside somewhat rectangular structures.] -
AIDS Forum: Danny Dries - Generic Memorial (for WM. Schwedler, 1942-1982). Installation view, Artists Space, 1992. [A black and white image of a blank frame on a white wall. At the center of the frame, a sculptural mold of a brain protrudes out from the canvas.] -
Selections from the Artists File. Installation view, Artists Space, 1989. [A photograph of a small room with clear walls and a clear door sitting against a wall in a white-walled gallery. Inside the room, a wooden chair and shelves are visible.] -
[The Decolonize This Place Logo in red text.] -
Gillian Walsh, score for Dance studio life ✌ These girls were amazing today!, 2015. [1's and 0's written in pencil on grid paper. Some letters have been circled.] -
Kristin Lucas, Social Climber, 1997. [A black remote control with a red light pointing out of its head. Six insect-like legs are attached to the body of the remote, three on each side, and it is poised on the wall as if crawling.] -
[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."] -
Still from video interview with Daniel Buren about the work of Christopher D'Arcangelo, conducted by Dean Inkster and Sébastien Pluot, 2010. -
In The Poem About Love You Don't Write The Word Love. Installation view, Artists Space, 2006. Photo: Bill Orcutt. [Four red bean bags are arranged on a gallery floor around four small tv monitors, each facing a different direction. The monitors are installed on a low, square plinth.] -
Underground: Jose Gabriel Fernandez. Installation view, Artists Space, 1991. [Two neon lights on a wooden floor. One light is coiled within a silver box, while the other rests directly on the floor, attached to a black cord.] -
Students creating prints at International Print Center NY, 2019 [Two people in aprons use a printmaker. One stands in the foreground, using the machine, while the other stands to the left in the background.] -
Union Gaucha Productions. Still from Phantom Limb, 1998. 16mm film (silent, black and white), 21 min 45 sec. Courtesy of Union Gaucha Productions. [A black and white still of a hallway with a patterned balcony, which descends into stairs. Three geometric paintings are hung along the walls.] -
Richard Kennedy Both, 2017. [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."] -
Artists Space logo, 1980s. [A black, sans-serif A on a white background, with a black outlined square positioned at once in front and behind the letter, intersecting it at all three corners.] -
Invitation for the exhibition at Kaiserstraße 31A (two copies) Düsseldorf, May 11, 1963 Collection Tobias Kuttner, Berlin [Two panels of square images, of which are surrounded by text within sections.] -
George Kuchar. [A profile of a man wearing glasses gazing beyond the frame. He sits in front of a painted portrait of a figure, who gazes in the same direction.] -
Documenting Cadere: 1972 - 1978. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A grid of photographs displaying candid portraiture is arranged in a white frame.] -
Light and Shadow, City-As-School photography student exhibition, 2018 [A person looks over an exhibition of photography arranged in a grid pattern on a wall] -
[A young deer made out of puzzle pieces with red streamers coming out of its eye and hip, as if bleeding. It is on a multimedia background showing bricks and grass.] -
Ei Arakawa: WEWORK BABIES. Performance documentation, December 8, 2019, Artists Space. Photo © 2019 Paula Court. [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.] -
Nelissa Rodriguez, 2014 [A colorful drawing of a Goya can behind a package of canilla enriched rice, and an empty cap. Each object is lying on an orange surface, with a green background] -
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."] -
Ei Arakawa: WEWORK BABIES. Performance documentation, December 8, 2019, Artists Space. Photo © 2019 Paula Court. [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.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [Two people wearing headphones sit in three wooden chairs arranged in front of a TV monitor, where a person wearing a black and yellow polo speaks to the camera.] -
Mark Morrisroe. Untitled (1988). © The Estate of Mark Morrisroe (Ringier Collection) at Fotomuseum Winterthur. [A yellow-toned close-up of a person's bare chest. There is a hummingbird tattoo on the person's right breast, and they are wearing two chain necklaces.] -
Corrugated Slogans and An Anthology of Invalid Format. [A white book lying on a larger blue book.] -
Marcos Lutyens: Hypnotic Show. [A pencil-drawn portrait of a person with curly hair, the bones of the forehead well-defined.] -
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.] -
Amalle Dublon & Constantina Zavitsanos, Interferometer (Quantum Eraser), 2018 (detail view). Photo: Daniel Pérez. [An inferometer in the foreground, bolted onto a black peg-board table, projects a green dot, through multiple lenses, onto a white wall.] -
[A grid of pink hearts on a green background.] -
Kembra Pfahler, Garden Party at the New York Marble Cemetery: In celebration of Jack Smith, 2018. Photograph: ©Paula Court [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.] -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$2,500
[A green object with a cracked, black surface sits on a white base. A metal antenna extends out on a diagonal.] -
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 black and white image of a girl sitting sideways on stone steps against a wall reading a book. Several more books are piled in front of her.] -
-
[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] -
Ei Arakawa: WEWORK BABIES. Performance documentation, December 8, 2019, Artists Space. Photo © 2019 Paula Court. [Several people hold a makeshift metal structure upright, fastening additional metal poles onto the structure. A small crowd stands behind them watching.] -
Urban Pornography. Installation view, Artists Space, 2001. [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.] -
Underground: Jose Gabriel Fernandez. Installation view, Artists Space, 1991. [Three large metal rectangular scuptures, hinging at an angle off the floor. A large photographic print of deer in woods hangs on the wall directly behind the sculptures.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A photograph of an empty room, dimly lit with chairs in the background, where a projection is playing on the wall. The projection displays an image of the Hamdan vs. Rumsfield Supreme Court Case.] -
[A few empty seats on an NYC subway - the 6 train, with the originating station titled "Maintaining Good Relations"] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A dimly lit view of a wooden wall with scattered video-still images at varying placements. Behind the wood is a white wall.] -
Jolene Rickard, Leadership (detail), 1987. [A black and white photo of an antler.] -
Heji Shin, Camp Habibi II, 2013, C-print, 20 x 16 inches, Signed edition of 100, 5APs, Courtesy of the artist. [Detail view of a camel's head in profile against a palm tree and blue sky.] -
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."] -
Unstretched, bound, outside mission, 2020, acrylic on linen, bubble wrap, ratchet strap, chicken wire, dimensions variable. [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.] -
Susan Howe, From DEBTHS, 2016, Silkscreen on archival box, 24 ¼ 20 ½ x 1 ½ in / 62,2 x 52 x 3,8 cm, Signed and Numbered Certificate [A scan of printed text. The legible portion reads "Upon the frontier of unimaged night"] -
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.] -
Alan Michelson, Permanent Title, 1993. [Eleven beige sacks of various sizes, depicting text and illustrations, are arranged on a wall.] -
Jane Bowles with Cherifa in Tangier, 1967. Photo: Terrence Spencer/Time & Life Pictures/Getty. [Black and white photograph of two women, one in a white dress and the other in a black niqab and sunglasses, walking arm in arm in a narrow street.] -
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."] -
Richard Hollis. Installation view, Artists Space, 2013. [A view of a book stand perpendicular to a wall in which staggered posters are hung. The book stand displays various documents and materials.] -
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.] -
Jeff Gibson, Delusions of Grandeur, 1989. Media unknown, 20 x 24 inches. [A close-up, black and white image of a face, with parts of the image chipping off and revealing a black backing.] -
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.] -
Joelle de la Casiniere. Still from La Grimoire Magnetique, 1983. 26 minutes. Photo: Micki McGee. [A black and white image of person in a coverall jumpsuit and backwards baseball cap reading aloud from a music stand. Behind them, a pair of sunglasses is shown on a white background.] -
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.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [A small device with a screen and cables is stuck to a closed door with a glass window and safety guard. The screen displays a blurred close up image of two hands grazing one another.] -
Not yet titled, 2019
Clay, glaze, metal antenna
3 1/2 x 13 x 12 inches (variable)
$2,500
[A pink object with a white, cracked surface sits on a white base. A flat green surface is attached to the left side, and a metal antenna extends out on a diagonal.] -
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.] -
Tauba Auerbach, Reciprocal Helix (Z), 2014, 3D printed matte gold steel, 5 1/2 x 1 1/4 x 2/5 in / 14 x 3,2 x 1,1 cm, Signed and Numbered Certificate. [A gold helix sculpture.] -
[A person walking down a city street, speaking into a megaphone. Around him are several cars and scattered onlookers.] -
Brett Reichman, Squeaker, 1991. Oil on canvas, 36 x 36 inches. Courtesy the artist. [A painting of a lamb figurine.] -
Art Day, Blue Sky Gallery, P.S. 140, 2019 [Several students and two teachers smiling for the camera in front of their artwork hanging on the wall] -
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.] -
Selections from the Artists File. Installation view, Artists Space, 1989. [A photograph of two walls of a gallery space. On one, photographs hang in an uneven row. On the other, two sculptures protrude from the wall.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$3,000
[A tan and green object stands on a white base. On the flat surface of the object, an onion and a lemon are connected by a rainbow wire. In the base of the object a processing chip is embedded.] -
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.] -
Friends of Artists Space Annual Dinner, 2017. [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.] -
Zilia Sánchez. Still from Soy Isla. Compréndelo y Retírate, 2000. [A VHS recording of a person holding an object on the beach.] -
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.] -
Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo credit: Jean Vong. [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.] -
P.S. 140 students painting sound, 2019 [An image of several students paitning with watercolors, each on their own desk] -
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.] -
Mungo Thomson, The True Artist Helps the World by Revealing Mystic Truths (12 Step), 2004. [A black bumper sticker with white text on the back of a silver car reads, "The True Artist Helps the World by Revealing Mystic Truths."] -
David Maljkovic, Scene for a New Heritage - New Possibilities, 2004. Mixed media on paper. Courtesy Annet Gelink Gallery, Amsterdam. [A drawing of an amorphous shape with a trail of black extending out the bottom and billowing upward. There are several lines of handwritten cursive text on the lefthand side of the drawing.] -
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.] -
Sarah Michelson. Devotion, 2011. Photo: Paula Court. [A girl lays on a dark background. She wears a white leotard. Her arms are stretched straight out on either side, with her palms facing upwards. She gazes upwards, illuminated by a soft light.] -
Front Yard Exhibition Galerie Parnass, Villa Jährling, Moltkestraße 67 February 1964 Photo: Rolf Jährling, Zentralarchiv des internationalen Kunsthandels ZADIK [A black and white image of four paintings of various sizes displayed against a fence with a thin layer of snow, marked with footprints, beneath them.] -
Salad Days. Installation view, Artists Space, 2004. [Two paintings hung on white walls meeting in a corner. The paintings are colorful, predominantly pink and red.] -
David Martine, No Reservation: New York Contemporary Native American Art Movement (AMERINDA, 2017). [A group of people waiting in line in front of a building. One man raises his hand, reaching out of frame.] -
[The letters "JA" written in black, stylized text on a white background.] -
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.] -
Local Transit. Installation view, Artists Space, 2006. [A gray wall with dozens of drawings arranged in rows of four. The drawings depict single buildings in black on white paper. In front of the wall, a gray object stands on a white plinth.] -
Michael Asher, Installation view, Artists Space, 1988. [A gallery with white walls and white columns is lit by a grid of uplighting that produce circles of illunimation on the room's ceiling. They contrast the dim lighting of the rest of the space.] -
Tilo Schulz, Remake Performance, Artists Space, 2004. [Two men walking inside a large inflatable sphere being followed by a crowd of people, some who are filming them, outside in a grassy and paved area.] -
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?"] -
Harun Farocki: Diagrams, film screening, 2014. [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] -
Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo credit: Jean Vong. [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.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [Several figures fill a dimly lit, basement room. Some figures sit and talk on large couches, while others stand and talk to each other. Video projections play on two of the space’s walls.] -
H_edge. Installation view, Artists Space, 2006. Photo: Whitney Cox. [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.] -
Hito Steyerl, Guards, 2012, HD video on freestanding screen with sound, 20 mins. Courtesy the artist and Andrew Kreps, New York. Installation view from Hito Steyerl, Artists Space, 2015. [A portrait oriented video is projected in a dark narrow space. A bench sits in front of the video. An image-still of a man, hands clasped at his waist as he faces the viewer, is on the back wall.] -
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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.] -
Michael Robinson. Still from Victory Over the Sun, 2007. [An empty pool with weeds growing out of cracks. There are trees and bushes in the background, and a pink glow on the righthand edge, as if from a sunspot.] -
Jean-Michel Wicker. wee willy wanted (la rivoluzione siamo me), 2013 [A black-and-white image of a man, a white bar with text, that reads "WANTED," covers his face. Below, a white bar with text that reads, "wee willy."] -
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Artists Space, Witnesses: Against Our Vanishing, 1989. [A red book cover with white text superimposed on a black palm print.] -
[A grid of pink hearts on a blue background.] -
Elephant Cemetery. Installation view, Artists Space, 2007. [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.] -
Danh Vo: Autoerotic Asphyxiation. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [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.] -
Zaha Hadid. Installation view, Artists Space, 2003. [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.] -
Jo Anstey and Julie Zando. Still from The Bus Stops Here, 1990. 27 min. Photo: Micki McGee. [A black and white image of three people wearing winter coats and scarves, observing something to the left of the camera.] -
Event Poster, Topical Cream Presents, 2016. [Event poster with performers and time information on the right. On the left, an image of a person putting on full protective medical gear and a white facemask.] -
See Around. Installation view, Artists Space, 2008. Photo: Adam Reich. [A corner of a wall imposed with the text, "Christa Blatchford: See Around."] -
[A screenshot of the google images results page for the search query "institution".] -
Danica Barboza, Omnia - Mercurial, Interposition. Installation view Galerie Buchholz, Cologne 2019. [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.] -
Wolf Vostell idécollage No. 3, Bulletin aktueller Ideen , Cologne, December 1962 Collection Andersch [White text against black background, landscape orientation poisitioned in portrait with words reading from bottom to top. The large title reads "dé collage."] -
Limpe Fuchs, 2012. Festival Experimentelle Musik, Munich. [Black-and-white photo of a person pulling two ends of a rolled-up rope] -
Tom of Finland, Reference Pages, ca.1966 – 90. Collage on paper. Courtesy Tom of Finland Foundation. [A book case displaying 5 paper collages of men's portraits.] -
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.] -
Underground: Gail Rothschild. Installation view, Artists Space, 1990. [A group of human figures made of clay are seated on benches around a long table, which extends to the length of a dark room. The walls of the room are patterned with handprints.] -
[An older man in a white collared shirt, pink tie, and black vest leans against a shining countertop—perhaps a bar—with both hands. A restaurant interior and fishtank gleam behind him.] -
[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.] -
Robert Gero, Untitled, 1989. Straw, tar. [A vertical rectangle of straw on a white background. The top of the rectangle is covered by an inverted triangle made of black tar.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$3,000
[A brown object stands on a white base. On the flat surface of the object, an onion and a lemon are connected by a rainbow wire.] -
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.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure stands facing a black tarp tacked to the wall. A second figure holds a camera, photographing the tarp. An image is projected on the back wall.] -
Still image from Daniel Tilsdale Contacts, Ponytails, Noses and Bleach, 1988. [A close up black and white image of a slide projection with two figures.] -
[Black, lowecase text that reads, "edition hansjörg mayer."] -
Mariselis Rivera, Abstract Painting, 2015 [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.] -
[A red background with white text which reads: "DUMP THE FINE ART OF GENTRIFICATION", followed by the Decolonize This Place Logo.] -
Still from The Last Days of Jack Sheppard (2009). [A white bust with a plaque reading "DEFOE" below it. Slightly offset and partially in shadow is a man seen in profile, dressed identically to the bust with a powdered wig.] -
Hito Steyerl, Guards, 2012. HD video on freestanding screen with sound, 20 mins. Courtesy the artist and Andrew Kreps, New York. [A portrait oriented video is projected in a dark narrow space. A bench sits in front of the video. An image-still of a man, gesturing towards the viewer with both hands together, is on the back wall.] -
[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"] -
The Owl Answers. Performance documentation, February 29, 2020, Artists Space. Photo ©️ 2020 Filip Wolak. [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.] -
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Here Is Information. Mobilise. Book launch, 2017. [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.] -
Jayline Quiles, Landscape, 2018 [A colorful painting of a landscape, with a river running through the center of the image, a mountain across the river and a cloudy sky] -
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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.] -
Hito Steyerl, Red Alert, 2007. Installation on 3 computer monitors. Courtesy of the artist. [Three red-orange panels in white frames hang on a white wall in an open space.] -
Selections: Aljira & Artists Space Announcement Postcard [A white postcard with purple text announcing fall 1990 exhibitions at Artists Space, including Selections: Aljira & Artists Space.] -
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [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.] -
Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [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.]
