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Group Exhibition. Installation view, Artists Space, 1981. Photo credit: Anne Turyn. [Figurative paintings hang on adjacent walls in white-walled gallery space.] -
Sensual Hyper Tension. Installation view, Artists Space, 2004. [A model of a geometric, folded object with one mirrored side within an open white rectangle.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A person sits on a wooden chair where there are three arranged, wearing headphones and looks at a TV monitor. The monitor displays a construction landscape in the Middle East.] -
Attention Line. Installation view, Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [An image of a room with several display cases and a projection, with bright lights cast against the wall.] -
Selections from the Artists File. Installation View, Artists Space, October 1, 1987 - October 31, 1987. [White sculptural form hanging on white gallery wall with stark lighting contrast.] -
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:"] -
Artists Performance Series. Installation view, Artists Space, 1977. [A black and white photograph of a gallery space. On the left, a window casts soft light onto a table and two chairs. On the right, a television monitor is positioned on a low bench.] -
Witnesses: Against Our Vanishing. Installation View, Artists Space, 1989. Photo: Frances Miller Smith. [A close up view of two abstract, earth-toned paintings hanging on a wall. Beyond them a doorway and another room with more painting is visible.] -
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Carol Sun, Herstory, 1991. Acrylic on canvas, 100 x 76 inches. [A postcard showing an image of sheets of paper, books, chains, a teapot, and other assorted objects on a checkerboard.] -
Ei Arakawa: Social Muscle Rehab (outdoor performance). Performance documentation, October 16, 2021, Artists Space. Photo: Filip Wolak. [Tennis players stand in an alleyway, ready to hit balls from an automatic ballfeeder. A crowd watches intently in the background. Suspended above them the words "Social Muscle Rehab" are painted in white capitalized text on black and green signs.] -
[A figure with dark, short hair wearing a brown shirt and white pants looks into the viewfinder of a large videocamera. They appear to stand on a precipice above the ocean, and their camera is aimed at the water below them.] -
Frozen Lakes. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [An angled view of a paneled wall displaying a long line of framed photographs in an exhibition space. A white mannequin wearing a blue shirt stands to the right of the wall. A large red carpet covers the ground in the bottom right portion of the image.] -
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You Are The Everything and The Everything Is In You. Installation view, Artists Space, 2005. [A long piece of paper covered with muted pastel and black areas of color stretches horizontally along two walls in the corner of a gallery space. Vinyl text installed to the right of the paper scroll reads: "Andrew Kuo / YOU ARE THE EVERYTHING AND THE EVERYTHING IS IN YOU."] -
Wesley Kimler. Untitled (blindfolded), 1984. [A nude figure with a darkened face appears moving an art and directing their gaze towards the viewer.] -
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.] -
Sherry Markovitz. Installation view. Artists Space, 1985. [One sculpted deer head is seen in the foreground with a paper mache design and a darker deer head sculpture is seen in the background with horns. Both are hung in a white-walled gallery space.] -
Artists Performance Series. Installation view, Artists Space, 1977. [A black and white photograph of a gallery space. A chouch with two figures is visible in the lower left corner. On the walls, several framed works are hung, each with a grid of smaller black and white images.] -
Devynn Emory: Grandmother Cindy. Performance documentation, May 18, 2022, 7:30pm. Artists Space, New York. [Two figures move a table on wheels.] -
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Two side-by-side magazine advertisements mounted on a white wall. On the left, a portrait-oriented multicolored image is titled, "One out of every 100 new business succeeds. Here's to those who take the odds." There is a short written blurb below. On the right, a landscape-oriented spread shows an image of a car with its doors open on the left page. On the right page, large text reads, "The Delorean. Live the dream." An additional image of a car and a single column of text is positioned to the right of this headline.] -
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[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."] -
Visit to Nathaniel Mary Quinn exhibition at Studio 94 [Two people hold up reproductions of a painting below the original that hangs on the wall. The painting depicts a collaged face obscured in parts by red, blue, and brown geometric shapes.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [Five flower arrangements sit side-by-side on a gallery floor. The flowers have been arranged such that they form the shape of four italicized, lowercase letters and a period. From left to right, the arrangements spell "abbr." White flowers form the letters' shapes, while green leaves frame the flowers.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [A metal cutout of a hand, holding up its middle finger with others curled back, is installed on a white wall. The hand holds a stack of neon cards. Black text on the front of the top card reads, "High five, girls earned the point, they have a good feel."] -
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Still from Expressions, Jordan Lord with Annette Carter and Deborah Lord, HD video, 36 min. looped, 2021. [A set of stairs leads down to the entrance to Artists Space; the stair railings are cast in shadow on the wall. Through the door are two people and fake smoke. A caption appears over the image that reads: “And do you see there are people? There’s actually a film crew.”] -
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.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez. [Large black straps wrap around some cast-iron columns, an orange, slug skins covers one of the cast-iron columns and other large, orange slug forms interact with the white-walled gallery space in the background. A black table sits in the corner and a figurative painting of an upright shark is in the back left corner.] -
Audio Works. Installation view, Artists Space, 1978. [A viewer is visible through the open door to a gallery room.] -
[Graphic logo reads I ♥ John Giorno in red text.] -
Selections from the Unaffiliated Artists File. Installation view, Artists Space, 1982. [Contact sheet of installation and opening photos from the exhibition.] -
Scavenger Hunt, Serena Booth, City-As-School high school student, 2021, digital photograph. -
virgil b/g taylor, Minor Publics. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a grey and blue piece of semi-transparent fabric, partially hung from a grey metal scaffold in a gallery space. ] -
Danica Barboza, Jason Hirata, Yuki Kimura, Duane Linklater. Installation view, Artists Space, 2019. Photo: Daniel Pérez. [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. Several sculptures are visible behind the structure, containing disembodied humanoid heads arranged among platforms and pieces of wood, cardboard, and other materials.] -
Beech Forest. Performance view, Artists Space, 2007. [A darkened gallery room with several standing lights pointing to illuminate a corner. In the corner, a figure stands, wearing a coat and a hat with her hands in her pockets, facing away from the camera. She is framed by an empty metal stand.] -
virgil b/g taylor, Minor Publics. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a gallery space. A large piece of grey and yellow vinyl hangs from the wall on the left, perpendicular to grey metal scaffolding with semi-transparent fabric on one side. A stack of grey a white posters are placed on the ground directly in front of the scaffold.] -
[A grid of yellow hearts on a pink background.] -
Édouard Manet, A Bar at the Folies-Bergère, 1882. [A painting of a female bartender standing behind a bar, facing the viewer. A large mirror directly behind her reflects the space of the crowded bar before her. Another woman behind and to the right of the bartender, her back to the viewer, turns to speak to a man with a top hat and mustache.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure stands next to a fold-out table in a dimly lit space. They look down at their feet while their hand rests at their hip.] -
Electronic Disturbance Theater 2.0/b.a.n.g. lab. The Transborder Immigrant Tool, 2007–ongoing. Pages excerpted from The Transborder Immigrant Tool publication. Courtesy the artist, University of Michigan Ann Arbor, and University of California, San Diego. [English version of the poem “You can survive without eating anything for three weeks in hot weather…/En climas cálidos, puede sobrevivir hasta tres semanas sin comer nada...” is written in the top-left portion of the page while the Spanish version is written in the lower-right. A grey line of varying widths divides the two languages.] -
Jose Miguel Salcido, Sin Titulo (Nhsr), 2009. [A man spray paints a large piece of abstract blue graffiti against a white city wall below a graphic emblem of an eagle. The street is dark, but he is illuminated by the flash of the camera.] -
Gerry Morehead. Installation view, Gerry Morehead, Jim Pavlicovic, Artists Space, 1976. [A black and white photograph of two black circles on a dark background.] -
Hilary Lloyd. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [Two portrait-oriented screens are each mounted on two floor to ceiling metal poles. The screens face outward at a 90-degree angle to each other and show abstract images.] -
Circus Amok, Escape to New York. Performance documentation, August 13, 2022, Artists Space. [Five figures wearing ornate green outfits play instruments. In front of them, a crowd can be seen sitting down.] -
Social Surfaces. Installation view, Alexander and Bonin, 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.] -
Still from Sacrifice/Gisei (1959). [A black and white image of a man lying on the ground, his arms and legs splayed out as if in agony. His eyes are closed and his face is contorted.] -
Artists Space's locations, 1973-2019. [A stylized map of SoHo and TriBeCa, stretching in latitude from West Houston Street to White Street, and in longitude from Hudson Street/West Broadway to Broadway. Each past location is marked by a red dot, indicating its address and years active, alongside a photo of the space's exterior.] -
Jason Simon, still from Vera, 2003. 25 min. [A woman seated on a couch wearing a green button-down shirt captured mid-laughter.] -
[Two figures wearing medical scrubs and surgical masks move a table with wheels, on top of which a mannequin lies.] -
Image provided by Gordon Hall. [In a grassy clearing in the shade of two green oak trees mostly obscuring the sky, the words “CENTER for EXPERIMENTAL LECTURES” are projected onto a small screen supported by a wooden frame held upright between leaning cinderblocks. Small monitor speakers are in the foreground on either side, one with a clamp light attached to it and a stack of books on top of it.] -
Ritsuko Taho, Untitled, 1985. [A black and white photograph of two constructed shoe-like objects on small constructed shape sitting on the grass in a foresty area.] -
Yuji Agematsu: Chasing Milford. Performance documentation, January 15, 2022, Artists Space. [A color photograph of a figure standing in an orange-lit space next to a small piece of audio equipment with a wire on the floor. A crowd looks on in the background.] -
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Two light blue panels of canvas displayed on a light mauve wall. The canvases are positioned side-by-side such that they form a square shape. Two semicircles are depicted on each of the canvases, which together form a white circle in the center of the two canvases. At the center of the circle, the edges of each of the canvases stretch outward to form two protruding flaps that curve towards and on top of the opposite canvases.] -
Danh Vo: Autoerotic Asphyxiation. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Two black and white photographs of various men casually holding hands are mounted one on top of the other on a white gallery wall behind semi-translucent white curtains. Two hands draw the curtains back to reveal the images.] -
New Red Order with Laura Gardin Fraser Teddy’s Touchdown, 1938/2021 16mm film, black and white 14 minutes (loop) Image courtesy Artists Space, New York Photo: Filip Wolak [An image of a dark exhibition space, a film projector projects a sepia tone image onto the wall. ] -
Five Spanish Artists. Installation View, Artists Space, 1985. [A large stick appears emerging from an image of reverberating water out of the image onto the upper lefthand corner of the gallery wall.] -
Rent check envelope prop, c.1970s. Copyright Jack Smith Archive. Courtesy Gladstone Gallery, New York and Brussels [A discolored envolope, stained and frayed, with cursive handwriting that reads "The Lobster Lucky Landlord Paradise".] -
Flyer for Segue Reading Series featuring Richard Loranger and Yanyi. Saturday, November 21, 2020, Artists Space. Artist: Keith Higginbotham [Two cropped photographs of figures cut into irregular shapes are laid over a light blue background. White and blue text on the image reads "Richard Loranger / Yanyi / Segue."] -
Robert Longo, c. 1976. From Exchange Show: Hallwalls, Buffalo, NY, Artists Space, 1976. [A grainy black and white image of a figure seated on an indescernible animal or object.] -
Photograph from the catalogue for polke / richter , 1966 galerie h, Hannover Courtesy August Haseke [A black and white image of a man, standing in a doorway, coving his torso with a small white blanket.] -
The columns held us up. Installation view, Artists Space, 2009. Photo: Adam Reich. [A white cloth banner hangs vertically from the ceiling, with text which reads "KARA-KUM, area 350000, disposed in Middle Asia." Below the text are drawings resembling Turkish architecture. To the right of the banner, a slide projector sits on a short wooden bench, projecting a small image onto a white wall.] -
The Owl Answers. Performance documentation, February 29, 2020, Artists Space. Photo ©️ 2020 Filip Wolak. [Close up of two figures standing before a set of music stands, their hands turning the pages of a script. They gaze at each other while the figure on the right speaks, their arm raised towards their chest in a small gesture. This figure wears glasses and an elaborate, gold and black collar piece.] -
[The inside of a room with a window looking out onto a view of Manhattan. The rightmost third of the image has been digitally altered such that it appears to warp and glitch.] -
Adjua Gargi Nzinga Greaves, 1741 Honey Locust, 2020. Inkjet print, 44 x 58 inches. Edition of 2. Courtesy Artists Space, New York. Photo: Filip Wolak [An inkjet print mounted on a pink wall. The print includes a woman standing behind a desk and in front of several rainbow-colored bookshelves. Above the bookshelves hang several flags.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [Doll sculptural objects appear with text in the background while cases can be visible in the foreground with items behind glass in a white-walled gallery space.] -
Group Material: Primer (for Raymond Williams). Artists Space, 1982. [A brick on the bround with black text on it that reads, "No heat." Above this brick in black lettering on the wall is text that reads from left to right, "born brick burn."] -
[A red background with white text which reads: "WE ARE NOT TOOLS FOR WHITE-WASHING OCCUPATION", followed by the Decolonize This Place Logo.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [A number of sculptures appear on pedestals with paintings on walls behind them with columns bisecting the image in a gallery setting.] -
Patricia Hearst – a Second Reading. Installation view, Artists Space, 1979. [A continuous strip extends around the perimeter of the room, hung up on the walls. The strip alternates between photographic stills and black boxes overlaid with white text.] -
INFESTED. Installation view, Arists Space, 2013. Photo: Lyndsy Welgos. [Several empty food containers and milk boxes on a hardwood floor, with milk spilled out all over the floor.] -
Entrance to Marble Cemetery. © Paula Court Photography, 2018. [A black metal gate with raised letters that read "New York Marble Cemetery, Incorporated 1831" with several inflatable lobsters attached to the gate.] -
Radical Localism: Art, Video and Culture from Pueblo Nuevo's Mexicali Rose. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A large, rectangular wall is suspended at the center of three vertical poles in a bright room. The wall is covered in abstract, smooth and multicolored shapes. Amongst the shapes there are several figures of different ages and dress performing different tasks. One raises his fist in the air. Two identical looking boys stare at the viewer. Another figure wears a hat with rabbit ears.] -
Exhibition announcements (assorted). Artists Space, 1999. Graphic Design: Sara Soskolne. [Nine fanned announcement cards in assorted colors. Black text on each card announces the Lise Soskolne exhibition at Artists Space, noting the time and exhibition location.] -
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."] -
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.] -
Neraldo de la Paz. Melania's Thigh, 1982. [A small constructed dancing figurine appears on a pedestal with light shining on it from the right creating a shadow on its left.] -
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Anna Gili, Casi del Mare. [Five glass sculptures of varying colors arranged in a line. They are painted with small circular and oval dots.] -
Yuji Agematsu: Chasing Milford. Performance documentation, January 15, 2022, Artists Space. [A color photograph of a figure standing behind audio mixing equipment and a microphone in front of an orange background. ] -
[A red background with white text which reads: "DUMP THE FINE ART OF GENTRIFICATION", followed by the Decolonize This Place Logo.] -
Tiffany Sia, The Bastard Tongue (detail view), 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A long sheet of white paper is suspended across multiple floors. Handrails for the second floor are visible in the background.] -
[A brochure cover for The New World Order III: The Curio Shop at Artists Space. There are collaged images of various photographs and restaurant marquees, and additional information about the location and time of the exhibition.] -
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.] -
In the Kaleidoscope Room, by Elizabeth Stone. [A book cover of In The Kaleidoscope Room by Elizabeth Stone, with the title and author written at the top in yellow text. Underneath, there is an image of a woman's face with orange lazers shooting out of her forehead in the shape of a soda bottle, with a straw coming out of the top. Behind her are light green and dark green checkered mountains. Under that is an old silver car with yellow headlights on a pink and blue checkered floor.] -
BAS, Istanbul. [A wide shot of an interior space. Several books and pamphlets rest on metal shelving to the image's left and right. A low wall separates the foreground of the image from the background, in which a figure sits at a long desk with their back to the viewer. More pamplets and books are strewn about and propped upon this desk. Several gray square and rectangular canvases hang on the walls.] -
Ministry of Interior building in Plaza de la Revolución, Havana, Cuba. [The façade of a building adorned with a large, metal frame sculpture of the face of Che Guevara.] -
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Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Detail view of white lettering on a black glossy structure: "SMASH FALSE DREAMLANDS".] -
Matt Mullican, Wall labels, 1976. From Susan Eder, Matt Mullican, Artists Space, 1976. [A black and white photograph of black silhouettes on a white wall, including human figures, a car, a house, and a television set.] -
Milford Graves: Fundamental Frequency. Installation view (ephemera c. 1965-1987), Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color photograph of a vitrine containing ephemeral material, including pamphlets, photographs, and a blue flyer.] -
Milford Graves: Fundamental Frequency. Installation view, Artists Space, October 8, 2021 – January 15, 2022. Photo: Filip Wolak. [A color installation view of a gallery space. Several handpainted LPs line the left wall. A television monitor is visible in the back corner with two chairs in front. A red tunic hangs above the monitor.] -
Lyndon Barrois Jr., Unseen Hand (Fall Guy); Sinner Man, 2022. Couch, jute, antique cane, plastic, copper, brass, conservation glove; Police tape, laser prints, museum board, MagiColor manual. Dimensions variable. Photo: Filip Wolak. [A color photograph of a yellow brocade couch in a gallery space. A long tangled rope extends from the bottom of the couch towards the camera. In the background, police tape against frames a rectangle on the wall, and three additional strips of police tape extend from the wall to the floor.] -
Richard Hollis. Installation view, Artists Space, 2013. [A blue shirt sits folded on a table with a book inside its pocket. Next to it, a book with text on the cover that reads, "The Hazards of Work: How to Fight Them."] -
Laura Ortman, cover artwork for My Soul Remainer, 2017. [A black and white composite photo showing a close-up of an eye superimposed under an illustration of a sunset over a sea horizon.] -
Audrey Glassman, Untitled, 1983. Cibachrome, 28 x 42 inches. [A cropped face of a figure is seen on the right with the image of a lantern light perched on a tree branch filling the left side of the image.] -
Students working with light and found objects, 2022 -
After Art, by David Joselit, published by Princeton University Press, 2012. [A green book cover with white lettering titled, "AFTER ART" by David Joselit.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Three paper bags, decorated in collage and drawing, sit on pedestals of varying heights. An abstract lanscape painting hangs on a wall behind them. To the left, a purple painting of an buffalo hangs on another wall.] -
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The Friends of Artists Space Dinner, May 8, 2010. Michael Clark & Company's performance. [A woman in a nude leotard-like top and silver leggings stands facing forward with her hand on her hip in a gallery space. Behind her, a figure in a black skirt and white collared shirt stands in a similar position, with his back to the former performer.] -
Hito Stereyl, excerpt from Guards, 2012, HD video on freestanding screen with sound, 20 mins. Courtesy of the artist and Andrew Kreps, New York. [A gif depicting a person dressed in black with arms outstretched and clasped, moving slowly through a room.] -
Group Material: Primer (for Raymond Williams). Artists Space, 1982. Photos: Kenji Fujita. [A view of a bedroom with various poster images on the walls and a dotted line cloth on a matress lying on the floor.] -
Selections from the Artists File. Installation View, Artists Space, October 1, 1987 - October 31, 1987. [A large sculptural abstract black object standing upright on the gallery floor behind a white wall.] -
P.S. 140 student workshopping poems, 2019 [Two people stand at the front of a full classroom in front of a projector screen that says, "Poetry workshop / Ms. Rebecca / Today's task: create headline poems." One reads from a notebook, the other listens on.] -
Work by Susan Eder. From Susan Eder, Matt Mullican Artists Space, 1976. [A black and white photograph of a small photograph against a white surface. The image pictured features the faces of two figures.] -
Lyndon Barrois Jr., Guardians Gate (Farfanicchio), 2022; Masters of Fine Arts, 2011/2022. Wood, latex paint, antique brass elements, cast iron, oil paint, twigs, brass, burlap, packing felt; oil on canvas, artist frame, solvent transfer, plywood, curtains, frames, lights, easels, conservators coat, headlamp. Dimensions variable. Photo: Filip Wolak. [A color photograph of a door with multiple nested smaller doors within the doorframe. Each individual doorway is framed with a gold outline. To the left are several empty picture frames and two studio lights. In front of dark green curtains is a painting set in a gold frame.] -
[Five book covers on a transparent background next to eachother in a line. From left to right the titles read, "The Abolition of Work," "Modern Dreams," "The Man Without Qualities," "Money," and "Power."] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$5,000
[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.] -
Local Transit. Installation view, Artists Space, 2006. [A gallery space with two columns. One column is wrapped in an off-white fabric, the other in bright pink. There are four white plinths of various heights with gray objects on top. One of the surrounding walls has a long sheet of paper with a drawing of highway signs and a gas station on it; the other has colorful framed images.] -
Whitney Museum of American Art Independent Study Program Studio Exhibition. Installation view, Artists Space, 2018. Photo: Gustavo Murillo Fernández-Valdés. [A kite hangs from the ceiling of an exhibition space in front of a white gallery wall. Three yellow-toned paintings are displayed at eye level on the wall behind the kite. Three identical paintings depicting an image of a white, tent-like tarp sit at an angle on the gallery floor to the left of the yellow paintings.] -
Classroom wall at PS140 Nathan Straus, with work from students in the Portfolio Development program. [Several drawings and small paintings pinnned to the outside of a cabinet depicting city scenes, portraits, and still life images.] -
[A red deflated balloon, folded at the neck, with white text that reads, "Living with Pop."] -
Carroll Dunham Untitled, 2006, 4 Color etching with aquatint, 14 1/4 x 11 inches (36.2 x 27.9 cm), Edition of 30 Signed & numbered, Edition of 30, Signed & numbered, Published by Two Palms Press. [A small rectangle outlined in a thick black border sits inside the larger rectangle of the paper. The interior rectangle contains a cropped image of a pink colored man with his pants pulled down. In his right hand he holds a gun, pointing towards the ground against a washy abstracted black background.] -
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [A square, gray canvas with a large white circle centered towards its bottom edge hangs on a light, mauve-colored wall. At the bottom center of the circle, the canvas stretches outward in a verticle line.] -
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Lyndon Barrois Jr.: Mirage Collar. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color installation view of a gallery space with several dark columns. A yellow brocade couch, wooden nightstand, wicker pannier, and police tape outlining a rectangle on the wall with three additional strips extending from the wall to the floor are visible.] -
New Art Auction and Exhibition. Installation view, Artists Space, 1977. [A black and white installation view of a gallery space with windows and a doorframe. Several artworks hang from the walls.] -
Nicole-Antonia Spagnola, Untitled, 2022. Raw Power, Raw Power; Kollettivo, Lotta per il potere; Antigenesi, Una donna non e’ merda; Negazione, Tutti Pazzi; RAF Punk, Contro la pace Contro la guerra; Peggio Punx, Scemo. 8mm to MP4 transfer (color, sound), monitors, chairs. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of a wooden cafe chair with green cushion in a gallery space. The chair is placed up against the wall and a set of doors is visible in the background. A television screen rests atop the chair with a cord extending down to an outlet on the ground.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A dimly lit, empty room filled with several low chairs. A projection illuminates a dark wall opposite the chairs. The projection displays an image of a figure, their index finger blotted purple, inserting a document written in Arabic into a machine.] -
Till They Listen: Bill Gunn Directs America. Installation view, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A wide angle image of a beige wall lined with multiple tv monitors and glass display cases filled with ephemera, hanging on the wall are four black and white contact sheets.] -
Paul Lamantia. Lilith, 1985. [Three figures with misshapen bodies and faces appear in a surreal setting.] -
Ursula Biemann, still from Writing Desire, 2000. Video, 23 minutes. Courtesy the artist. [A nightime view of a truck driving past a parking lot. In the top left of the image is a superimposed video of a blond woman. The words "Hello I'm Natascha" appear in red to the right of the woman.] -
Abstruction. Installation view, Artists Space, 2003. [Several artworks installed in a large gallery space with white walls and wooden flooring. A television monitor rests on a low acrylic box on the floor to the room's right side. A warped purple and pink image resembling a kaleidoscopic star shape is displayed on its screen. There are white columns to the left of the monitor. Hanging on a gallery wall on the image's far left side is a large piece of translucent, white cloth embroidered with amorphous red and blue linework. The far gallery wall behind the twinned columns has been painted with slanted, striped areas of peach, yellow, and ochre color.] -
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Sistema Sandinista de Television. Still from Aqui En Esta Esquina (Here On This Corner), 1983. Video (sound, black and white). 30 minutes (excerpted). Spanish with English subtitles. [The back of one figured centered in the image as another figure appears in front of him alongisde a young shirtless child to the right and a seated audience is seen in the background. Scan lines in the image and the outer box of a CRT monitor are visible.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Detail view of a black platform with a black screen at the end, depicting a person wearing a shirt] -
Passages from People Who Led to My Plays. Performance documentation, March 1, 2020, Artists Space. Photo ©️ 2020 Paula Court. [Two figures in dark clothing stand before two music stands in front of a seated audience. The figure on the right is speaking, her hand pinched in a small gesture at her torso.] -
Nicole-Antonia Spagnola, Untitled, 2022. Raw Power, Raw Power; Kollettivo, Lotta per il potere; Antigenesi, Una donna non e’ merda; Negazione, Tutti Pazzi; RAF Punk, Contro la pace Contro la guerra; Peggio Punx, Scemo. 8mm to MP4 transfer (color, sound), monitors, chairs. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color installation photograph of five chairs spread out in a gallery space bisected by two dark columns. The chairs have tv screens resting on their green cushions. ] -
Juliana Huxtable, Train, 2018, Sound recording on compact disc housed in four-panel sleeve featuring original artwork, Recording: 14 min 17 seconds, sleeve: 5 x 10 inches, Signed and numbered. [A dense graphic background of yellow circles and green dots on red ground is layered with text that reads "close your eyes" in a variety of fonts and colors.] -
Blaster Al Ackerman, Untitled, n.d., painted album cover, 12 x 12 inches. Courtesy of Stewart Mostofsky. [A painted image of a white push-button telephone sitting atop a brown surface with a yellow wall behind it. At the top right is a 10 cent postage stamp depicting a face with missing teeth and a text that says "The GIGGLER."] -
Abstruction. Installation view, Artists Space, 2003. [A large gallery space with white walls and wooden flooring. The length of a long gallery wall has been painted with amorphous areas of turquoise, yellow, red, and green color amidst vaguely cloud-like white shapes. Several rectangular canvases decorated with similar designs lean against the wall. A large blue shape resembling a bridge stretches across the wall design.] -
Yuji Agematsu: Chasing Milford. Performance documentation, January 15, 2022, Artists Space. [A color photograph of a figure standing behind audio mixing equipment and a microphone in an orange-lit space. A crowd looks on. ] -
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[A darkened classroom, lit dimly with overhead orange lights. Three rows of chairs and desks face an image projected on a screen. The image is a blurred figure with a pale face enveloped in a black cape.] -
Matt Mullican. Performance documentation, 1976. From Susan Eder, Matt Mullican, Artists Space, 1976. [A black and white photograph of a performance in a gallery space. Two figures against the wall pull at a white sheet. Another figure leans against a pole in the center and observes. In the foreground a crowd watches on.] -
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.] -
Flyer for Segue Reading Series featuring Zach Haber and Jubi Arriola-Headley. Saturday, October 10, 2020, Artists Space. Artist: Keith Higginbotham [A photograph features two boxers entangled in front of a faded photo of a house. Blue text on top of the image reads "Zack Haber / Jubi Arriola-Headley / Segue."] -
devynn emory, Grandmother Cindy. Performance documentation, May 18, 2022, Artists Space [A person dressed in blue stands next to a mannequin draped in red fabric lying on a rolling table. To the left is an IV stand and people seated in the background. ] -
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.] -
[A pair of leather boots and a power strip rest underneath a blue, wooden chair on a concrete floor.] -
Frank Ripploh, still from Taxi zum Klo, 1981. 95min. [A man sits partially undressed on a toilet, holding a red notebook while peering through a hole in the tile wall.] -
[A portrait-oriented view of a home interior. On the left, a doorway leads to a kitchen. On the right, the room opens to a living space with stacks of books on the floor and decor on the wall.] -
Elephant Cemetery. Installation view, Artists Space, 2007. [A wide wooden worktable sits in a gallery space with various models, books, and papers displayed on its surface. One of the models located closest to the viewer is yellow and has an amorphous shape. A series of black and white photographs of buildings hang on the wall to the right of the table.] -
Robert Gero, Untitled, 1989. Sandstone, salt, aluminum, 60 x 9 x 9 inches. [A rectangular column of rough, brown material is capped by a smooth cube of white stone.] -
[An image of people in a circle wearing white ponchos holding white streamers and a large red balloon is superimposed on top of a city street, rendered in shades of black and grey.] -
Gordon Onslow-Ford, Play, 1985. [Various abstract star-like symbols appear wih a black background.] -
John Berger, Ways of Seeing (London: BBC and Penguin Books, 1972). [Black text on paper introducing the book. The top text reads, "A Pelican Original, Ways of Seeing, Based on the BBC television series with John Berger."] -
K8 Hardy , Sharing 2014, 2014 , C-print, 23 ½ x 18 ½ in / 59,7 x 47,1 cm (image size), 24 x 18 4/5 in / 60,1 x 47,8 cm (paper size), Signed and Numbered. [A framed photo of a hand in the lower left corner adjusting a skewed image of K8 Hardy partially undressed in a windowed room, looking over her shoulder with her left arm held aloft.] -
Flyer for Segue Reading Series featuring Joey Yearous-Algozin and Filip Marinovich. Saturday, April 24, 2021, Artists Space. [Multicolored circles, torii (donut shapes), and a cylinder are on a yellow-orange gradient background. The image is overlaid with the text, "artists space & the segue reading series / merrily invite you to an online reading by / Joey Yearous-Algozin / and / Filip Marinovich / saturday 4.24.21 5pm eastern / $5 suggested it'll be terrific / zoom id: 830 2698 4031] -
Gary Falk, Brigid Kennedy, Ladd Kessler, Peggy Yunque. Installation view, Artists Space, 1981. [Grainy photograph of a wall drawing in a gallery space.] -
Flyer for Segue Reading Series featuring Wayne Koestenbaum and Morgan Võ. Saturday, October 30, 2021, Artists Space. Artist: Lonely Christopher & Venn Daniel [A horizontal white background with curved turquoise, orange, black, and purple lines. Text appears on top of the image reading, "Segue" (in pink) "Morgan Võ Wayne Koestenbaum" (in gray)] -
Eiko Ishibashi: Two New York Nights. Performance documentation, June 8, 2022, 8pm. Artists Space, New York. [Several figures stand along a wall. One figure, seated, uses a computer at a small round table.] -
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.] -
Student Presentations at Artists Space, 2021 -
Katsuhiro Saiki. Installation view, Artists Space, 2003. [A low platform on a concrete floor supporting a glasstop photograph of pink clouds on a blue sky.] -
Lyndon Barrois Jr., Divine Agent, 2022. Wicker pannier, plastic, copper, brass, conservation glove, moonshine jug, solvent transfers, plywood, brass, wooden owl figurine, dyed silk. Dimensions variable. Photo: Filip Wolak. [A color photograph of a gallery space. Two small paintings hang on the wall between concrete columns set into the wall. In the foreground, a large wicker pannier is visible. Two strips of police tape can be seen in the right corner of the frame.] -
Salad Days 2. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [Bright red milk crates arranged on top of one another in descending height in a gallery space. Wooden planks are balanced on top of the crates and supported by longer wooden planks that rest against cinderblocks along the side of the structure.] -
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Frederick Weston, SoBar, 2018. Collage. [Collage featuring a color image of the Mr. Peanut brand logo surrounded by black-and-white imagery, including a boy carrying a bindle.] -
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Lee Mullican, Four Musicians, 1984. [An abstract painting littered with dots, black shapes and line forms.] -
Jon Rubin. Alice Underwater. Installation view. Artists Space, 1985. [A small goldfish is visible swimming inside a round-shaped bowl with water in it with a silver watch behind it. The bowl is sitting on a pedestal on a white wall.] -
Edin Velez, still from The Meaning of the Interval, 1987. Video (color, sound). [A distorted video still of a woman wearing pale makeup and lipstick. Her hair is carefully swept up and decorated with a hairpiece. A double of her image is positioned to her right. The background behind her displays several blurred kanji characters.] -
We the People. Installation view, Artists Space. 1987 [A black and white photo of an exhibition space, four sculptures on pedestals line the room diagonally with a mural painting behind them.] -
MS 324 group work, collaborative drawing, 2019 [Five people's hands work on a colorful, abstract drawing with the drawing at the center of the image on a wooden table.] -
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Lyndon Barrois Jr.: Mirage Collar. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color installation view of a gallery space with three dark columns. A wicker pannier and a yellow brocade couch are visible in the foreground. In the background, a multi-tiered door, several paintings, a wooden stool and nightstand are also visible.] -
Matters of Sensation. Installation view, Artists Space, 2008. Photo: Adam Reich. [Three gray objects rest on separate rectangular, white plinths in a gallery space with wooden flooring. Each of the objects is rectangular and has a 3D, biomorphic form.] -
Till They Listen: Bill Gunn Directs America. Installation view, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [An image of a dark room with two spotlights, one pointed at wall text, and the other at a wall projection and glass display case. ] -
Scanned slide from an untitled photo shoot featuring Smith as the Lobster, c. 1970s - 1980s. Copyright Jack Smith Archive. Courtesy Gladstone Gallery, New York and Brussels [A film photograph of a person in a black dress and red cape, advancing across a checkered floor towards a small plastic penguin wearing beaded jewelry and a red feathery crown.] -
Nina in Position. Installation view, Artists Space, 2008. Photo: Bill Orcutt. [A series of sculptures in a large gallery space with wooden floors. In the center of the image, a dark sculpture forming an hourglass shape rests on a white plinth, while three potted ferns rest on another, low plinth to the right. A long chain with white appendages hangs from the gallery ceiling.] -
Nicole-Antonia Spagnola, Untitled, 2022. Raw Power, Raw Power; Kollettivo, Lotta per il potere; Antigenesi, Una donna non e’ merda; Negazione, Tutti Pazzi; RAF Punk, Contro la pace Contro la guerra; Peggio Punx, Scemo. 8mm to MP4 transfer (color, sound), monitors, chairs. Installation view, Artists Space, 2022. Photo: Filip Wolak. [A color photograph of three chairs spread out in a gallery space with three dark columns. A television screen rests on each of the chairs. ] -
Jazmín López, Amazon, 2022. Chandelier and blood. Photo: Steven Cottingham. [Color installation image showing a chandelier hanging from the ceiling and resting on the floor in front of a dark column.] -
[An offwhite poster with black letters framed two bands of a cropped watercolor painting announces a sound poetry festival entitled "Chorus."] -
Young Fluxus. Installation view, Artists Space, 1982. [Plastic bags of objects appear on a white gallery wall.] -
See Around. Installation view, Artists Space, 2008. Photo: Adam Reich. [A corner of a wall imposed with the text, "Christa Blatchford: See Around."] -
Served Up! R.M. Fischer, Postcard, Artists Space, 1979. [A black-and-white photograph of a man crouching and speaking in front of a spotlight. The outlines of two people in front of the speaker are faintly visible.] -
Attention Line. Installation view (posters and ephemera from Other Cinema, c. 1970s-80s), Artists Space, June 11 - August 20, 2022. Photo: Filip Wolak [An image of a glass display case, above which hang various posters and epehemera. Behind the posters is a staircase.]
