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.
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.
Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez.
Three photographs are mounted next to one another on a colorful gallery wall, which is covered with a photo decal of a mosaic. Each of the photographs show different urban walls covered in grafitti. Graffiti on a city wall shown in the far right photograph reads, "pueblo nueva."
A dimly lit, color photograph of a desert installed on a white gallery wall. The desert ground is a bright orange color and includes many large rock features. The sky above is slightly blue and filled with clouds.
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez.
A large room with a wooden table in the foreground. A standing screen is centered between two white poles, showing a projected image of a white sign with handwritten text reading "DELOREAN DREAM WORKERS NIGHTMARE."
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.
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez.
A detail shot of a larger photo collage work featuring 20 identical images in a grid that have been altered with black, yellow, or white paint to vary the scene presented of a man opening up the hood of a car.
Hernan Bas, Needles (In Anticipation of the Fall), 2005, Single color hard ground etching, 26 1/4 x 21 inches (67 x 53 cm), Edition of 30, Courtesy the artist, Fredric Snitzer Gallery, Miami & Daniel Reich Gallery, New York, Printed by Julia D’Amario.
A wood framed drawing hangs on a wall. The pencil drawing depicts a youthful figure at the center of the page with abstract pencil markings surrounding them.
New Red Order Cover the Earth, detail, 2021 Painted mural with cut vinyl, dibond prints, kiddie pool, sod, inflatable alligator, turtle sandbox, beach towels, towel racks, beach balls, beach chairs, beach umbrella, real estate lawn sign, cooler, and pool noodles. Image courtesy Artists Space, New York Photo: Filip Wolak
An image of a multicolored exhibition space consisting of beach paraphernalia, a real estate lawn sign, and a mural wall collaged with images and drawings.
Flyer for Segue Reading Series featuring Dazie Grego-Sykes and Douglas A. Martin. Saturday, October 24, 2020, Artists Space. Artist: Keith Higginbotham
Yellow rectangles with cropped black text are arranged haphardly on a white background. Black text over the top and bottom of the image reads "Dazie Grego-Sykes / Douglas A. Martin," and positioned in the center vertically, black text reads "Segue."
Two women in dresses and matching shoes are splayed up against a screen with their arms raised. There is an image projected over them, with a white background and black geometric pattern, and two splotches of red over their bodies.
ART CLUB2000Untitled (Sharf Shack) after Kenny Scharfs “Scharf Schak,” 1996 Wood, vinyl coated wood paneling, paint, glitter, and hardware 8 x 8 x 3 feet Image courtesy Artists Space, New York Photo: Filip Wolak
A view of a built shack structure displaying a colorful cartoon face and a graphic sign that reads "Sharf Shack".
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Gustavo Murillo Fernández-Valdés.
A blue carpet decorated with colorful polka-dots fills the floor of a gallery space. Colorful, plastic chairs are arranged against the right wall. A wooden table with chairs and two monitors are displayed at the space's back wall. A kite hangs from the ceiling in the center of the space.
Not yet titled, 2019 Clay, glaze, mixed media 7 x 12 x 17 inches (variable) $3,000
A yellow and blue object sits on a white base. Embedded in the front of the object is black electronic screen and a gold nail polish bottle reading "Sally Hansen nailgrowth miracle salon strength." On top of the object, a small potato sits with two wires attached.
An image of rocks, trees and coastline overlooking a large body of water. Collaged on top of the photograph are cutouts of flowers, carved stones, and a mosaic. Gray text gives details about a virtual reading event, with zoom meeting information written in yellow at the bottom.
Semi-translucent, white cloth material embroidered with thin black and yellow linework. A cluster of embroidered black lines gather at the top of the fabric. At their center is a group of words that have been embroidered onto the fabric. They overlap with such density that they are illegible. Small embroidered yellow circles decorate the lower half and right corner of the fabric.
Cass Bird, I Look Like My Daddy, 2004. C-print, 30 x 40 inches. Courtesy the artist.
Photographic portrait of a youthful figure leaning against a white brick wall. They wear a partially unbuttoned, blue and black plaid shirt and a trucker hat. Large black text emblazoned across the front of the hat reads, "I LOOK JUST LIKE MY DADDY." A miniature gun token has been attached to the hat, to the left of the text. The figure stares ahead, the right side of their face illuminated by daylight.
Eileen Neff, Cezanne's Dream, 1992. Mixed media installation. Photo: Erik Landsberg.
A bed with a mountain at its center in a partially constructed room with a floor and a single wall. Surrounding it are several framed paintings and empty frames, a bench with fabric piled on it, and a high shelf with a skull.
Sam Pulitzer: A Colony for “Them”. Installation view, Artists Space, 2014. Photo: Daniel Pérez.
An angled view of a freestanding white wall displaying vinyl wall text in an exhibition space. The first sentence of the text reads, "A plea for funds seems to come again." An adjacent wall is covered with a large, abstract image of a figure's portrait. It is rendered such that the figure's face appears to be emerging from a cloud in a night sky.
UniBodies. Installation view, Artists Space, 2006. Photo: Bill Ocrutt.
Detail view of four sculptures hung on the wall. The sculptures are ordered in neutral tones ranging from light to dark. Their shapes are approximately rectangular, each divided into quadrant segments.
Paul Chan, Wht is the nture of lw, 2011, Inkjet print and silkscreen on paper, 19 1/3 x 16 1/8 in / 49 x 48,6 cm, Signed and numbered.
A collage-style image. The background is a 19th century-style painting titled "Start of the Famous Race between the Natchez & Robt," drawing from an actual race between two steamboats named the Nachez and the Robert E. Lee in 1870 New Orleans. The painting depicts a maritime scene. It appears slightly ripped at the top, with a black background, and black, blue, and yellow opaque squares appearing in each corner. At the bottom, "THE END" is printed in a square formation. In the center, a printed, black, numbered list is overlaid on top of the painting, with 20 elements. The text reads: "1. Dylan quote: To be just, one has to be against the law / 2. Artist are "natural" lawbreakers / 3. Art synonymous with freedom (against law) / But art is not lawless, it simply followed another law (law as tendency) / 5. Expression is the following of a more natural law (perhaps higher law in line with nature and non-man made law / 6. Diotima? Marcus Aurelius? Hardot / Natural law, nature) / 7. Artmaking is when one discovers a law that one already follows (science) / 8. In the end, it is law against law. / 9. But still, law is sin (St. Paul) and death. / 10. Petrified unrest / manic energy / overproduction / 11. What is truly against the law? / 12. Duchamp / against one's taste / contranatural / (perverse) / 13. Kant = Contranatural is Anti-Christ / 14. His anti-art was in fact a private pleasure forced to live on for others. / 15. Crime and pleasure (≠ happiness) / 16. Crime is what is pleasing only to onself? / 17. Real art is what is pleasing to oneself? / 18. Real art is a real crime? / 19. Adorno quote as Nietzschean bluster / 20. The real crime is that what we do for ourselves is pleasing"
A black and white image of a crowd of people gathered around a dinner table. The walls of the room are patterned, and there is a portrait of a bearded man hanging on the wall above the guest at the head of the table.
Fifth Season Act, Apotheosically. Performance documentation, May 31, 2012, Artists Space.
A crowd if people sit on wooden chairs in a large gallery space. The crowd forms a semi-circle around a portion of the gallery floor covered in a brown, dirt-like material. A woman in a white suit stands amonst the debris and speaks into a microphone in front of a sculpture composed of a large pane of glass.
Sandinista Sistema de Television. Still from Aqui En Esta Esquina (Here On This Corner), 1983. Video (sound, black and white). Spanish with English subtitles.
A figure standing central in the image with a microphone and two slightly upholstered chairs behind him. The logo "CDF" can be seen written on the wall next to another word of partial view. Video scan lines and black edges of CRT monitor are visible.
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich.
A bedroom scene set up in the middle of an open room, seen between two white poles. There is a beige rug, with a chrome lamp and matching bed frame. The bed has blue sheets with a dark blue comforter cover and a red blanket. There is a wooden chair facing in, and a brown table with assorted bottles on top. On the far side of the bed is a coffee machine, microwave, and television. In the background, various framed images are hung on white gallery walls.
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 2. Installation view, Artists Space, 2006. Photo: Bill Ocrutt.
A microphone connected to a stand and an amp sit on the floor of a gallery space. The microphone stand has been adjusted such that the microphone is pointed down and hovers directly over a small answering machine on the ground. Wall vinyl installed on the wall directly behind the microphone stand displays a phone number: "+1 (212) 226-2786)."
Episode: Compari Project Space 2007 Installation view from Episode, Artists Space, 2007. Photo: Bill Orcutt.
A dimly lit room with a leather black couch facing a projection screen.
A book cover opened so the front and back are visible. There is a black rectangle with white text reading, "Whose Choice" with a handprint and an illustration of internal organs. Small text at the bottom of the image reads, "...prior to quickening..." / "...suffer imprisonment..." / "...right to privacy..."
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.
New Red Order with Virgil B/G Taylor. Native New Yorker: Sigillum Civitatis Novi Eboraci, 2021 Painted wall with cut vinyl, historical newspapers, television, and postcard 10 x 10 feet Image courtesy Artists Space, New York Photo: Filip Wolak
A black wall that reads "Sigillum Civitatis Novi Eboraci 1625". Layered on the wall are multiple printed drawings and tv monitors, below sits a red beach ball.
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez.
A display case holds materials in the middle of a neutral colored room. A black and white video is projected on a wall on the left side of the room. The projection faces a wall displaying several framed photographs and drawings.
New Red Order Beginning of the End of the Trail, detail, 2021 Wet-plate collodion glass negatives with LED lightboxes, pipes, and extension cords. Image courtesy Artists Space, New York Photo: Filip Wolak
An image of a dark room with multiple videos playing in the background and photograph negatives hang off the wall.
Apartment Show: If the dogs are barking. Installation view, Artists Space, 2009.
A collection of posters, drawings, paintings, photographs, and collages hang in clusters on a white gallery wall. On the right of the wall is a closed doorway. A long, multicolored poll wedged into a wood stump sits on the gallery floor.
Donald Moffett, Hidden Drive, 2018, C-print with diecut, 16 x 12 inches, Signed edition of 100, 5APs Courtesy of the artist
White flowers are superimposed on a photograph of a leafy shrub enshrouding a yellow street sign that reads "HIDDEN DRIVE." The face of the sign is damaged with many holes and other signs of impact that suggest gunfire.
Gritty street wall background with a white poster on it with black text that reads, "ABUSE OF POWER SHOULD COME AS NO SURPRISE / ALIENATION CAN PRODUCE ECCENTRICS OR REVOLUTIONARIES / AN ELITE IS INEVITABLE / ANGER OR HATE CAN BE A USEFUL MOTIVATING FORCE / ANY SURPLUS IS IMMORAL / DISGUST IS THE APPROPRIATE RESPONSE TO MOST SITUATIONS / EVERYONE'S WORK IS EQUALLY IMPORTANT / EXCEPTIONAL PEOPLE DESERVE SPECIAL CONCESSIONS / FAITHFULNESS IS A SOCIAL NOT A BIOLOGICAL LAW / FREEDOM IS A LUXURY NOT A NECESSITY / GOVERNMENT IS A BURDEN ON THE PEOPLE / HUMANISM IS OBSOLETE / IDEALS ARE EVENTUALLY REPLACED BY CONVENTIONAL GOALS / INHERITANCE MUST BE ABOLISHED / KILLING IS UNAVOIDABLE BUT IS NOTHING TO BE PROUD OF / LABOR IS A LIFE-DESTROYING ACTIVITY / MONEY CREATES TASTE / MORALS ARE FOR LITTLE PEOPLE / MOST PEOPLE ARE NOT FIT TO RULE THEMSELVES / MOSTLY YOU SHOULD MIND YOUR OWN BUSINESS / MUCH WAS DECIDED BEFORE YOU WERE BORN / MURDER HAS ITS SEXUAL SIDE / PAIN CAN BE A VERY POSITIVE THING / PEOPLE ARE NUTS IF THEY THINK THEY CONTROL THEIR LIVES / PEOPLE WHO DON'T WORK WITH THEIR HANDS ARE PARASITES / PEOPLE WHO GO CRAZY ARE TOO SENSITIVE / PEOPLE WON'T BEHAVE IF THEY HAVE NOTHING TO LOSE / PLAYING IT SAFE CAN CAUSE A LOT OF DAMAGE / PRIVATE OWNERSHIP IS AN INVITATION TO DISASTER / ROMANTIC LOVE WAS INVENTED TO MANIPULATE WOMEN / SELFISHNESS IS THE MOST BASIC MOTIVATION / SEPARATISM IS THE WAY TO A NEW BEGINNING / SEX DIFFERENCES ARE HERE TO STAY / STARVATION IS NATURE'S WAY / STERLIZIZATION IS OFTEN JUSTIFIED / STUPID PEOPLE SHOULDN'T BREED / TECHNOLOGY WILL MAKE OR BRAKE US / THE FAMILY IS LIVING ON BORROWED TIME / THE LAND BELONGS TO NO ONE / TIMIDITY IS LAUGHABLE / TORTURE IS HORRIBLE AND EXCITING / TRADING A LIFE FOR A LIFE IS FAIR ENOUGH / UNIQUE THINGS MUST BE THE MOST VALUABLE / YOU DIG YOUR OWN GRAVE / YOU MUST REMEMBER YOU HAVE FREEDOM OF CHOICE."
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.
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez.
A dimly lit, empty room filled with low chairs. A projection illuminates a dark wall opposite the chairs. The projection shows the interior of a vehicle, where a man wearing a keffiyeh sits in the front seat of the vehicle and leans over to the passenger seat.
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez.
Two paper bags with handles sit on a white shelf. The left bag is red and decorated with two illustrated portraits, one of which is a Native American man. The bag to the right has a larger portrait of a Native American man next to illustrative fish on a colorful background.
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.
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez.
An image of a man with black material painted around his eyes projected onto a black gallery wall. A portion of a red Coca-Cola sign reading "Trink Coca-Cola" is superimposed over the man's image. To the right of the video projection, an amorphous black sculpture with red feathers is displayed on a small shelf.
A bright yellow poster for Top Hat (1935) features a man in a black tuxedo with coattails and a woman in a long white dress with a full skirt, captured in exuberant dance atop a black top hat. Orange rays radiate from around the woman, while around them are smaller illustrated vignettes of the dancing couple in various poses amidst music notes. Text at the top of the poster reads "They're dancing cheek-to-cheek again!" and bold type listing the featured actors' names, Fred Astaire and Ginger Rogers. The movie title is superimposed on the top hat in red type. Further film credits include Irving Berlin (music and lyrics), and supporting cast (Edward Everett Horton, Helen Broderick, Erick Rhodes, and Eric Blore), with direction by Mark Sandrich.
A crowd of people standing outside in Cortlandt Alley surrounding several performers. The performers are mixed in with the crowd, holding metal poles, some looking at a baby doll which is photographed in midair after being thrown upwards.
Wolfgang Tillmans,still life (Bühnenbild), 2020, 23.5 x 16.5 inches
Photograph of a series of objects clustered on a dusty shelf, illuminated by soft daylight. Two identical green vases and two clear cups sit on the right side of the shelf. A photograph of several tomato plant stalks and other flowers is causally propped behind the leftmost vase. Stacks of paper, a plastic bag, and used candles are scattered behind these objects. Small text at the lower left and right corners of the image reads, "2020Solidarity - Wolfgang Tillmans / A project by Between Bridges."
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 hand-drawn image in pencil of a bedroom or living room scene. The room's double windows have been blown open, scattering several papers across the room. A crudely drawn figure stands upright in an uncomfortable manner in the middle of the room.
Flyer featuring densely collaged images of food in metal trays, renaissance-era images of saints and angels, Cookie Monster and other puppets, electric keyboards and vintage video game consoles, images of people holding vegetables and plates of food, and tree-filled landscapes. Below the collage, white sans-serif text is superimposed over an image of stars in space. The text reads: “artists space & the segue reading series invite you to a virtual reading by / Steven Seinberg / and / Darcie Dennigan / saturday, may 2nd, 5pm nyc time, zoom id: 378 232 567 / it will be robust.
A installation wide shot of a room with five silver columns. In the foreground, there is a rectangular pool filled with water with two spouts spraying water in fountains. A second pool built from wood is visible in the background. Between the two, there are various objects including a low-hanging disco ball, a vase with flowers, strands of string lights, and more. On the back wall, the word "TIRANNY" is handwritten in block letters, partially obscured by one of the columns. The room is lit by standing colorful lights with pink and blue tones.
Liz Deschenes Ibry's timetable 1878 (Paris - Lyon), 2018, UV print on photogram, 8 x 14 inches, Signed edition of 100, 5APs, Courtesy of the artist.
Black and white chart tracking the movement of trains through major cities in France. Text at the bottom of the chart reads "Fig. 7. Graphique de la marche des trains sur un chemin de fer, d'après la méthode de Ibry."
Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979). Installation view, Artists Space, 2011. Photo: Daniel Pérez.
Two black monitors facing opposite directions sit on a large, rectangular wooden table. One screen is visible, showing an image of two hands holding a piece of white paper with typed text. In the background, a framed photograph is installed on a white gallery wall.
An animated gif of a rotating, square painting installed in a white-walled gallery space. The painting depicts four superimposed nude bodies in various positions (standing, crouching, extending their arms) in an amorphous yet contained space. The painting framed in a black wooden frame with handles on each of its four sides. The animation depicts the painting spinning clockwise, such that at every angle the figures appear to stand in a different position, carrying out a new action.
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.
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez.
A dimly lit room with green turf-like carpet and exposed wooden walls. On the left, 9 images of different sizes are mounting, and luminous. On the right, projectors and movie cameras are placed on a horizontal shelf. On the far end of the floor towards the wall is a small square tv monitor with headphones placed in front of it. Behind the monitor are three medium-sized white windows.
Keeph Little, Artists Space construction site no.1, 2020, digital photograph
A window sill with cups, cans and cloth is visible and a crane can be seen outside of the window with the text: "New Holland" written on it. Circular green graffitti is visible on the facade of the building behind the crane.
Works by Philip-Lorca diCorcia. Witnesses: Against Our Vanishing. Installation view, Artists Space, 1989.
Photographs hang on a white wall. On the left, two black and white portraits are stacked vertically. In the center, a row of five color photographs includes a person sitting in a lounge chair and a person in a hospital bed. On the right, the edge of a painting in visible.
MTL+. Palestine, BLM and Boycott in the Arts, 2016.
A flyer for the event depicting a stylized map of Israel in red, on a yellow background. Text reads "Palestine, BLM & Boycott In the Arts: A conversation with Robin D.G. Kelley, Jasbir K. Puar, Amin Husain & Marz Saffore / Friday Nov. 4th 7pm."
New Economy. Installation view, Artists Space, 2007.
In the foreground of the installation view is a corridor wall with a large black and white drawing of farm architecture and in the background are monitor based works as well as sculptures of a skateboard on a pedestal and red crates of cola bottles.
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.
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez.
Three floor-standing, backlit images of a woman wearing a white Adidas soccer jersey decorated with a "bc" logo. The images are identical and are arranged one behind the other. Paragraphs of text are superimposed across two of the photos.
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.
Kevin Labadie. Installation view. Artists Space, 1983.
A number of dark paper-thin objects are visible in the foreground and a netted covering with small pieces of string dispersed around it with light emanating from behind can be seen in the upper section of the image.
A city street with a concrete median and wall made from gray metal supported by wooden planks. The median has the words "Property of LACTC" printed on it. Hanging just above that are four postered portraits displayed in a horizontal line. Each poster features three letters below its portrait image that together spell out "UNI/TED/STA/TES". The portraits are framed by traffic signs that say, "WRONG WAY" and "USE SIDEWALK."