-
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A crowd of people fill a dimly lit red room, some sitting and some standing. Abstract images are projected on the space’s walls.] -
AIDS Forum: Danny Dries - Generic Memorial (for WM. Schwedler, 1942-1982). Installation view, Artists Space, 1992. [A close up, black and white image of the seat of an antique wooden chair. A mold of a human brain emerges from the center of the chair's cushion.] -
ART CLUB2000 Seven Black and White Photographs (Untitled), detail, 1993 Silver gelatin prints 11 x 14 inches each Image courtesy Artists Space, New York Photo: Filip Wolak [A display of Gap shoe boxes that meet an intersecting wall. Behind them, on the gallery wall is a series of images showing found documents. Above the images is a yellow band that wraps to the adjacent wall with text that reads "A youngboy might start crying, a middle aged housewife".] -
Cici Wu, Foreign Object #1 Fluffy Light (anonymous), 2018. Handmade opalescent glass, CDS photo-reflectors, white and orange LED indicator, switch, chargeable battery, electronic board, memory cardboard. 4.5 × 4.5 × 4.5 in. (11.43 × 11.43 × 11.43 cm). Courtesy the artist and 47 Canal Gallery. Photo by Joerg Lohse. [A bulbous light-hued pink sphere-like object rests upon a white plinth. When in use, a red light on the object blinks to signal that the object is functioning correctly.] -
Selections from the Artists File. Installation view, Artists Space, 1988. [A view of a gallery space with concrete floors, white walls, and white columns. In the foreground, a grouping of five striped cylinders of varying sizes are placed on the floor. Other works are visible in the background.] -
Joe Orton and Kenneth Halliwell Collins Guide to Roses , 1959 – 1962 Book cover collage Courtesy Islington Local History Centre [A green book cover, with it's title at the top reading, "Collings guid to ROSES;" a yellow rose against a white background, and a collaged photo of a dogs face below it. The right bottom corner of the page reads, "by Bertram Park."] -
Herman Wallace. Drawing. [A colored pencil rendering of a prison cell is contained inside a rectangular box with rounded edges, floating on a white lined sheet of paper. A pink heart in motion extends beyond the confines of the cell and onto lined paper.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [A figure in overalls reaches up to pin a dark tarp along the length of a wall. Behind them, another figure adjusts a camera on a tripod.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [A flower arrangement consisting of white flowers and green leaves displayed on a slated, wooden floor. The arrangement is shaped such that it forms a lowercase, italicized letter "a."] -
Maltz, Russell. 1979. Photo: Abby Robinson. [An aerial view of a rural dwelling place.] -
Observational drawing exercises [A pineapple and two bananas sit on a table with a person's hands in the midst of drawing the fruit with pencil at the center of the image.] -
Postcard for Underground: amanaplanacanalpanama, 1990, Artists Space. [A postcard, displaying puple text on a white background, provides details about the exhibition and corresponding events.] -
When Time Becomes Form: The Money Mountain. Installation view, Artists Space, 2008. [Roughly two dozen stuffed laundry bags, piled up against a wall. The bags are white and are each imprinted with a large black dollar sign.] -
[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.] -
Selections from the ART CLUB2000 archive. Photo: Nicole Eisenman. [A snowglobe with a portrait photograph inside sits on a surface next to three sheets of paper featuring typewritten and handwritten notes.] -
Young Fluxus. Installation view, Artists Space, 1982. [Numerous artworks appear on the walls of a white-walled gallery space.] -
City-As-School students critiquing images, 2019. [A photo of students sitting around a table, watching a YouTube video and speaking to one another.] -
Pride Goes Before a Fall/Beware of a Holy Whore - An Exhibition in Two Acts. Installation view, Artists Space, 2013. [A close up view of a sculpture of a man holding a book. The man's hand holds the spine of a book close to his purple shirt.] -
Alex Slade, Ministry of Agriculture, Manaus Brasil, 1999. C-print, 60 x 38 inches. Courtesy the artist. [Photographic print of an urban skyline on a sunny day. A small skyscraper juts out from a cluster of lower buildings at the image's center. Text emblazoned across the facade of a low, white building in front of the skyscraper reads, "TROPICAL" and "MERCADÃO DE BEBÊ." Cars drive along a four lane road to the left of the skyscraper.] -
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.] -
Ralph Paquin and Ann Stoddard, ERAWA - ERA WAS, 1990. Installation view, Artists Space, 1990. [A large paper-maché head lays face-up on a metal scaffolding. Above it, green cursive text reads, "ring is worn out by constant use."] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Overview of a large black glossy structure built in a gallery. The "bc" logo is visible, printed in white on one of the structure's walls. A TV depicting an abstract, colorful image and the word "EVERYWHERE" is hung on an upright rolling stand, visible through an opening in the structure.] -
Hito Steyerl, excerpt from, Liquidity, Inc., 2014 HD video with sound, 30 mins Courtesy of the artist and Andrew Kreps, New York [A moving image of a computer generated ocean horizon line that pixelates into a recorded video of a real ocean horizon.] -
-
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."] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [A wooden door opens on a view of a tiled, single-user bathroom. To the right of the room is a small, porcelain sink and warped mirror. Behind the sink is a tan toilet below a thin window.] -
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.] -
Martin Beck, An Organized System of Instructions (Carpenter Center for the Visual Arts and Sternberg Press, 2017). [A hardcover book depicting a blueish outdoor park obscured by several grey sheets.] -
Selections from the Artists File. Installation View, Artists Space, October 1, 1987 - October 31, 1987. [A painting collage with three separate figures represented hanging in a white-walled gallery space with a clock above it right where a finger in painting is pointing.] -
Chumlum. Dir. Ron Rice. 1964. 16mm, (sound, color). [A collage-style image with a person looking towards the camera, a woman's hand, beads and several other objects.] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A bedroom scene set up in the middle of an open room. 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.] -
Sistema Sandinista de Television. Still from Golpes de la Corazon (Blows of the Heart), 1983. Video (sound, black and white). 30 minutes (excerpted). Spanish with English subtitles. [A figure holding a sword in the middle of a man and woman with a car visible behind them. Subtitles burned onto the bottom of the image read, "Aha, I found you." Scan lines in the image and the outer box of a CRT monitor are visible.] -
Gary Burnley, Martin Cohen, Candace Hill-Montgomery, Louis Stein, and Haim Steinbach. Contact sheet of photos from exhibition opening, Artists Space, 1979. Photos by Gary Burnley. [Contact sheet of installation images taken during exhibition opening.] -
Gary Falk, Brigid Kennedy, Ladd Kessler, Peggy Yunque. Installation view, Artists Space, 1981. [A dim photograph of hanging sculptures and multiple objects on white pedestals.] -
Portraits of Peter Osborne and Brendan Harvey. [Portraits of two figures are arranged side-by-side. On the left, a figure wearing a white shirt sits at a table with different objects spread out on its surface, speaking into a microphone. On the right, a black and white photo of a figures bust sits inside a larger black square.] -
New Red Order, still from CULTURE CAPTURE: TERMINAL ADDITION, 2019. [A figure wearing a black, puffy coat and a white, waxy mask that covers their entire head stands beside a stone structure with an illegible inscription. Their hand rests on the stone next to a small, spherical surveillance camera as they look off into the distance.] -
Young Fluxus. Installation view, Artists Space, 1982. [The outline of a bird in black is visible on both sides of the image with black text in the center that reads, "If you look to the left, that is the left drawing, if you look to the right, that's the right drawing, but if you don't look anywhere that's the no drawing."] -
Artists Space founder Irving Sandler, Miyoko Ito Dinner, 2018. [Two people stand at the foot of an empty table, mid-conversation, looking off-camera to the left. The individual on the left holds a glass of wine.] -
Mindy Faber. Still from Identity Crisis, 1989. 3 min. Photo: Micki McGee. [A black and white close-up image of an adolescent girl, smiling at the camera. She is holding up a scrub brush in one hand and a bottle of Soft Scrub in the other and is wearing a bathrobe and a shower cap.] -
Tom of Finland, Untitled, ca. 1930. Watercolor, pen and ink on paper. Courtesy The Family of Touko Laaksonen, Finland. [A vitrine displaying a nuclear family of paper dolls with their various options of clothing.] -
[Two shirtless men doing the splits on top of large boulders outdoors.] -
“Chinatown Is Not for Sale.” Artists Space Books & Talks, Saturday, October 22, 2016. Courtesy Decolonize This Place and Artists Space, New York. Photo: Marz Saffore [A panoramic image of the audience at Artists Space and Decolonize This Place's event, featuring colorful banners on the wall that read "ABOLISH WHITE SUPREMACY," "Black Lives Matter", "Don't Play with Apartheid #BDS".] -
Poster for the original production of The Owl Answers at The White Barn Theatre in Westport, Connecticut, 1965. Courtesy the Harry Ransom Archives at UT Austin, Texas. [A light pink paper with black typeface announcing the premiere of two plays, AM by Otis Bigelow and The Owl Answers by Adrienne Kennedy. Other printed information includes the time, date and location of the show, the board of directors, and the director.] -
Collaborative team designing butterfly, 2018 [Four people pose for a photo, leaning on a table with three drawings of butterflies splayed across the surface. A papier mache butterfly composed of saturated pink and gold paper and red, yellow, black and white cotton balls hangs above the people at the top right of the image.] -
[A circular shape with a textured fill on a blue background.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [To the right, a gray silhouette of a woman with her hands on her hips is installed on a white wall. Exposed wires run from an electrical socket to the left of her legs to a box on the ground. A television monitor sits on the ground in front of the back of a projection screen positioned between two standing speakers.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [A black cord sticks out from underneath a tan carpet. Wires are visible running underneath the carpeted floor throughout the frame.] -
[A red background with white text which reads: "DUMP THE FINE ART OF GENTRIFICATION", followed by the Decolonize This Place Logo.] -
Mona Hatoum, Birds of a Feather, 1997, Chromogenic print, 10 x 12 inches (25.4 x 30.5 cm), Edition of 50, Signed & numbered. [The image shows a wood-framed photograph hanging on a wall. The photo, taken from inside a room, shows a seagull on a window ledge beside a small bird figurine. Out the window is a blue sky and buildings.] -
Lolina performing Inquiry & Investigation, 2018. [A person stands, holds a microphone to their mouth and adjusts a knob on a CDJ.] -
Dark Rooms Photograph of Carolee Schneemann's War Mop, mechanized mop, plexiglass fulcrum, TV monitor. Sculpture/Video Installation, 1985. [A black and white image of a dimly lit room with a TV monitor on the floor and mechanized mop leaning over it. ] -
Hilary Lloyd, Shirt, 2011. [A close-up shot of black fabric patterned with white dots, stripes, and zigzags.] -
Richard Hollis. Installation view, Artists Space, 2013. [A grid of 6 documents sitting opened on a table.] -
Sean Snyder. Installation view, Artists Space, 2010-11. Photo: Daniel Peréz. [Ten black and white photographs arranged in a rectangle on a white wall. The images show various scenes of assorted trash on streets.] -
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)] -
Split/Vision. Installation View. Artists Space, 1985-86. [Photographs of different housing interiors hang in a white-walled gallery space.] -
Establishing Shot. Installation view, Artists Space, 2004. [A large space with a wooden floor and white walls. On one wall is a black and white floorplan with 3D structures. On the other wall, there are a series of photographs with several small street signs arranged in a clump. To the right of that, there is a block of wall text with four frames below. Two of the frames hold *Time Magazine* covers.] -
Young Fluxus. Installation view, Artists Space, 1982. [A chalk drawing appears above two chairs on the left and in the corner is a television monitor on a pedestal with framed drawings behind it. A doorway leads into the next space.] -
Tiffany Sia, The Bastard Scroll (detail view), 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A photograph of a gallery space with dark grey walls. Eight photographs and print-outs are hung on the walls, and to the right of them is a wooden bench.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez. [A partial view of a large, orange circular slug sculpture is in front of a painting hanging in a white-walled gallery space.] -
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.] -
Adjua Gargi Nzinga Greaves: The x in florxal is silent when spoken. Installation view, Artists Space, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [Eight digital prints are hung on a white gallery wall. In front of the wall are three floor-to-ceiling columns.] -
Jutta Koether: xxapollo. Performance documentation, January 5, 2020, Artists Space. Photo © 2020 Paula Court. [A person dressed in all pink extends a heart-shaped canvas in front of her, while her eyes look away. She is surrounded by rapt audience members arranged in a semi-circle around her. There are light spots reflected at even intervals patterning the room.] -
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.] -
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.] -
Hito Steyerl, Liquidity, Inc., 2014, HD video with sound, 30 mins. Courtesy the artist and Andrew Kreps, New York. Installation view from Hito Steyerl, Artists Space, 2015. [A side view of a large video monitor screen, sitting on the ground, with a large ramp extending from the base. Two viewers sit on large pillows at the curve of the ramp. The room is tinted blue. On the screen, there is a man in a sitting in an office with a note pad and a pen at the table in front of him.] -
A Strategy Hinted At. Installation view, Artists Space, 1997. [A gallery space with a seat made from a wooden block in the center. On one wall, five artworks hang in a horizontal line. Several perpendicular walls emerge from the gallery wall to the right of the space. The perpendicular walls are arranged such that they create small booths, with a square hole in each wall.] -
Reese Williams. A Pair of Eyes (detail), 1983. Photomural with gouache. 7 x 40 x 60 inches (panels). [Large structures of power lines are visible with white human figures moving around in the bottom section of the image.] -
“Palestine, BLM & Boycott in the Arts.” Artists Space Books & Talks, Friday, November 4, 2016. Courtesy Decolonize This Place and Artists Space, New York. Photo: Andrés Rodriguez [A projection on the wall displaying two posters, one that reads "Black Lives Matter" featuring an upside down image of the Empire State building, and to its right, one that reads "Palestine, BLM & Boycott in the Arts" with a yellow background, orange lightining-style graphic, and Arabic text.] -
Show and Tell: A Chronicle of Group Material, edited by Julie Ault, published by Four Corners Books, 2010. [Book cover design featuring an image of a large room with red walls. A banner of colorful flags hangs from the ceiling. A large collection of objects is scattered on the floor, including coca-cola bottles, posters, chip bags, paint cans, detergent bottles, and other assorted items.] -
Pool Show. Installation view, Artists Space, 1980. [Frame photographs and text hang on the wall in a gallery space.] -
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.] -
Film still from Teaching TV, Artists Space, 1990. [A black and white image of a group of children clustered in front of a store window. On the right, the text "NO FRESH WORDS" overlays the image.] -
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.] -
Hilary Lloyd, Thighs, 2011. [Two juxtaposted images of two sets of thighs. In both images, a bright light illuminates the space between the figures' thighs. Light spots appear across the images.] -
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.] -
Eds. Lisa Lee and Hal Foster, Critical Laboratory: The Writings of Thomas Hirschhorn (MIT Press, 2013). [The title of the book appears in white text atop an yellowed image of a room's interior. A plant, lamp, and some paper with notes cover the desk in the room.] -
John Neff, Authorization Sessions Set 2018: Manhattan Project, 2018. Photo: Daniel Pérez [A monitor on a wheeled stand is displayed in the corner of two white walls. The monitor projects an image of a whiteboard with hand written text that reads, "People think because, People lie others..., People ignore..." circled in red, green and blue. A green office swivel chair with headphones is placed in front.] -
Hito Steyerl, Liquidity, Inc., 2014. HD video with sound, 30 mins. Courtesy the artist and Andrew Kreps, New York. [A side view of a large video monitor screen, sitting on the ground, with a large ramp extending from the base including large pillows for seating. The room is tinted blue. On the screen, there is a man in a mask, infront of a map of Europe and Eastern Asia. A text bubble is infront of him that reads, "because huge quantities of data are raining down from their cloud storage over Scandinavia."] -
Hunter Reynolds, Patina du Prey’s Memorial Dress: 1997 to 2007. Historical performance documentation. Photo: Maxine Henryson. [A portrait of a heavily made-up standing person in a ballgown with outstretched arms in black evening gloves. The dark ballgown has rows of light names on it.] -
[Collaged image featuring a vintage color photograph of the Golden Gate Bridge. A gigantic box whose sides are covered with images of forest treetops covers the center portion of the bridge. The bridge appears to pass through the box through a hole in its left side, out of which water pours into the Bay below. Verdant, rolling hills are visible in the image's foreground.] -
[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.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [An angled view of a display case containing several framed drawings. To the left of the display case, three vintage television sets rest a white support and play video footage. Framed documents and photographs hang along the back wall on either side of a doorway.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Black and white photographs hang in a horizontal line across a dark wall descending into an exhibition space. On the right, a video monitor sits on the ground. In the background is a free-standing wall featuring a series of framed photographs. A mannequin dressed in orange and green fabric is displayed in front of the photographs.] -
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. ] -
Hito Steyerl, Liquidity, Inc., 2014 HD video with sound, 30 mins. Courtesy the artist and Andrew Kreps, New York. Installation view from Hito Steyerl, Artists Space, 2015 [An angled view of a large video monitor screen positioned on the ground behind a collumn. The room is tinted blue. Three pairs of pipe-frame panels visible in the front and both sides of the screen, which projects a video-still of a composited frame that includes computer generated images of the ocean.] -
Pictures. Installation view, Artists Space, 1977. [A dimly lit corner of a gallery. A large, gray structure with a slight trapezoidal shape hangs on the corner's left wall. A series of small figurines of men riding on horses emerge in a line along the top edge of the gray form. Hanging on the corner's right wall is a frieze-style figurine of a man in a white shirt and tie that emerges from the wall. He tilts his head back as his arms bend, one extending forward.] -
Fifth Season Act, Apotheosically. Performance documentation, May 31, 2012, Artists Space. [A figure in a white suit crouches on the floor of a gallery space, speaking into a microphone held in one hand while reading from a series of papers stewn about her on the ground. The ground is unevenly covered in a grainy, brown dirt-like material. A flashlight rests on the ground at her feet, pointing towards and illuminating a sculpture composed of a large glass pane wedged into the center of a square concrete block. String, golden tassles, and other sparkling ornaments hang on the glass pane.] -
Julie Wachtel. Installation View. Artists Space, 1985-86. [Two split screen image photographs hang on a white gallery wall, the one closer has an image of a monkey dressed in a sports suit with a soccer ball on a field. The other image in the background shows a kitten with its eyes closed under a blanket. Both images of figures appear identicial.] -
Union Gaucha Productions. Installation view, Artists Space, 2015. Photo: Daniel Pérez. [Six monitors in a row are lined up in the middle of a floating bookshelf, displaying stills from the film. On the left corner of the image, a desk holds long slips of black paper with white text on it, curled and intertwined, resembling film strips.] -
-
New Galleries of the Lower East Side. Installation View. Artists Space, 1984. Photo: Kenji Fujita. [A view of a large window with the facade of other buildings, a restaurant is visible on the left. Graffiti text is visible above the length of the horizontal window and lights appear hanging from the ceiling directed to opposite sides.] -
Ei Arakawa, WEWORK BABIES. Performance documentation, Artists Space, December 8, 2019. Photo © Paula Court. [A crowd of people standing outdoors surround several performers. The performers intermingle with the crowd, holding metal poles, some looking at a baby doll which is photographed in midair after being thrown upwards.] -
Young Fluxus. Installation view, Artists Space, 1982. [View down a hallway with framed images on the wall.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [A large black display case with several books arranged in a small viewing window. One book is titled *MOBY-DICK*, while another displays japanese text and a woman on its cover.] -
Hani Rashid, Certain First Principles, 1985. Mixed media with ink, old paint, acids, chalks, 33 x 24 inches. [Drawing of a curving tower with accentuated imagery spilling into the white surrounding areas.] -
-
Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo: Jean Vong. [A framed, oval-shaped painting of a man and a conical plant sculpture decorated with hanging crepe paper tassels are displayed in a gallery.] -
Flyer for Segue Reading Series featuring Chang Yuchen and Nicole Wallace. Saturday, December 18, 2021, Artists Space. [Black text overlays a mauve background. The top left corner reads: "Chang Yuchen & Nicole Wallace." The center right reads: "Segue Reading Series & ARTISTS SPACE." The bottom left reads: "Saturday December 18 - 5pm, 11 Cortland Alley + Zoom". The image of a 5 dollar bill is placed within the text.] -
Split/Vision. Installation View. Artists Space, 1985-86. [Framed square and rectangualar photographs are visible in a white-walled gallery space with white columns centered in the image.] -
-
Eniya Alonzia, The Sky, 2018. [A skewed black-and-white image looking up at the façade of a building and the sky. An LED sign spelling "DINER" hangs from the left side of the building.] -
Jutta Koether, xxapollo. Performance documentation, Artists Space, January 5, 2020. Photo © Paula Court. [A person dressed in all pink grips a heart-shaped canvas in front of her, while her eyes look past the camera. She is surrounded by rapt audience members behind her. There are light spots reflected at even intervals patterning the room.] -
Adjua Gargi Nzinga Greaves, For Aricka, Ayana, Ayodele, Bernice, Chantelle, Charmaine, Cynthia Ch., Cynthia Co., Daphne, Davina, Dawn, Dina, Emily, Erica, Evadne, Frances, Gail, Gwen, Hara, Heather, Imanei, Imani, Janet, Jenny, Kadija, Kahdeidra, kale, Kelly, Kenya (R), LesLes, Lois, Lynnette, Madeleine, Mahogany, Marsha, Maiya, Najela, Nontsi, Ola, Pilar, Queen, RaFia, Ro-Ro, Sandra, Sasha, Serenity, Shana, Simone L, Simone W, Tabitha, Taiyi, Trinity, Uchenna, Vivian, Wangechi, X, Yvette, Zuri, detail, 2021. Living plants: Hannibal (Epipremnum aureum) with rose quartz, Gertrude Deuxieme (Tillandsia xerographica), Leonie (Philodendron totem), Eversley Deuxieme (Tillandsia xerographica), Melford (Epipremnum aureum) with amethyst; dessicated floral matter (eucalyptus, grass, willow, palm), knight on horseback figurine, brass candlesticks, polystyrene, porcelain and 18 karat gold plates, crystals (various), bamboo earrings, jade, cremains, leather, cork, glass, dragon figurine, sandalwood incense and ceramic holder, palo santo (Bursera graveolens), and window, overall dimensions variable. Courtesy Artists SPace, New York. Photo: Filip Wolak [Potted plants and small figurines line the windowsill. Beneath the window are four framed works on paper.] -
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:"] -
MTL+. Our Uprisings, 2016. [A poster with yellow text on a red and black background, stating "OUR UPRISINGS ARE QUEER TRANS BLACK BROWN PALESTINIAN IMMIGRANT INDIGENOUS AND GLOBAL".] -
-
Robert Hall. Babalu, 1986-87. Painted Construction, oil on plywood. 48 inches x 34 inches. [A black and white photograph of a painted construction.] -
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.] -
Guilt for Shame. Performance documentation, August 22, 2013, Artists Space. Photo: Lyndsy Welgos. [A man stands, motioning towards at an LED light sculpture hung on the wall. A woman sits on one of three benches circling the man, and the audience is seated on the floor behind them.] -
Laurel Woodcock, (Untitled), Neon Quote, 2005. Neon sculptures. Courtesy the artist. [The exterior of a Soho building at night. Inside the third floor are two glowing blue neon quotation marks visible from outside.] -
ART CLUB2000: Selected Works 1992–1999. Installation view, Artists Space, November 21, 2020 – January 30, 2021. Image courtesy Artists Space, New York. Photo: Filip Wolak [A view of multiple works including a vending machine against a glazed over window, a glass display table backed by tiled photographs, a lightbox with an image of sitting individuals and a colorful shack structure.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$3,000
[A brown, blue, and tan object stands on a white base. On the flat surface of the object sit an onion and a lemon, each with wires connecting them to the object. Under the onion, a purple earring hangs down.] -
[A closet, sliding doors opened to reveal clothing folded on shelves and organized on hangers. To the right, a view into the hallway.] -
The Friends of Artists Space Dinner, May 8, 2010. Michael Clark & Company's performance. [A man with a shaved head stands in front of a crowd seated at a long table in a large gallery space. He stares in front of him with one hand resting at his hip and wears a white collared shirt and a black, knee-length skirt.] -
Demonstrations outside the opening of Witnesses: Against Our Vanishing, Artists Space, 1989 [Protesters standing in a line hold a variety of signs with statements such as "Helms impedes the 1st Amendment," "Obscene Art?", "I have no taste," and "No taxation without artistic representation"] -
Carol Sun, Journey to Gold Mountain. [A slide of a painting of a pyramid of stairs with a ladder extending upwards, connected to several gold mountains by a railroad track.] -
Till They Listen: Bill Gunn Directs America. Installation view, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [Along the wall is a glass display case holding ephemera, hanging above are two black and white contact sheets.] -
Joel Katz. Still from History Lessons, 1990. [A close-up mage of a person wearing large glasses in front of a world map.] -
-
Laura Cottingham & Leslie Singer, still from The Anita Pallenburg Story, 2000. Digital Video, 76 min. [An upward angled view of two people performing with a gray curtain behind them. One person, with black hair and a yellow jacket, is playing an electric guitar, the other, with red hair and wearing a black sequin top and blue scarf with matching eyeshadow, is singing into a mic.] -
Flyer for Segue Reading Series featuring Ron Silliman and Tonya Foster. Saturday, January 9, 2021, Artists Space. [An image of multiple abstract line drawings. The drawings on the left are depicted in black and the drawings on the right are depicted in a range of colors. Black text over the top half of the image reads "Ron Silliman/ Tonya Foster." Black and white text layed out vertically between drawings reads "Segue" and black text on the lower half of the image reads, "9 January / 5 pm".] -
The Library Vaccine. Installation view, Artists Space, 2014. [An angled view of table's length, on which are various organized documents, books, and papers displaying images and text. In the background are bookshelves and tables.] -
Till They Listen: Bill Gunn Directs America. Installation view featuring various ephemera from Personal Problems, c. 1980, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A close up of a glass display case holding images and multiple booklets of text. ] -
Still from The Last Days of Jack Sheppard (2009). [A animated cartoon in tones of black, blue, and grey depicting a silhouette of a prisoner with a chain on his leg and hands in the air, facing a large door with multiple locks.] -
Arts and Family Engagement evening, student and parent panel on high school portfolio preparation, P.S. 140, 2019 [A classroom with several adults sitting around the perimeter. In the center, colorful student artworks are arranged across several desks.] -
Margit Lewczuk. Installation View. Artists Space, 1985. -
Portrait of Carman Moore. [A color photograph of a figure from the chest up. Moore wears a green collared shirt and looks directly into the camera. He stands in front of a translucent glass background, in whose reflection buildings are faintly visible.] -
Speaker Music: drape over another. Performance & Album Launch documentation, December 13, 2019, Artists Space. Photo © 2019 Paula Court. [Half-eaten fruit, chocolate, and candles sit on a low, stone tabletop under dim lighting.] -
[Photograph of a large building on an urban street composed of rectangular sections of dark black and white stone that jut variously in towards and away from the building's facade. The bottom portion of the building is supported by two white columns and has a glass facade.] -
Carissa Rodriguez, You Know the Rules. You Fall in Love. You Lose. Filmed by Jordan Lord, recaptured by Rodriguez through her Pokémon Go app. [An animation of two screengrabs from a phone, each showing the Pokémon "Gastly" above a computer screen with text reading "Whenever you do not understand what's happening in your life, just close your eyes, take a deep breath and say, "God I know this is your plan just helpme through it."] -
Whatever Happened to Sex in Scandinavia (2011). Knut Ove Arntzen, Stan Brakhage, Marta Kuzma and Pablo LaFuente. [A grayscale image of two naked people, kneeling on the ground of an untidy room. They are embracing, with their foreheads pressed together. Behind them there is a window and a typewriter on a stand.] -
Piecing Together Los Angeles: An Esther McCoy Reader, edited by Susan Morgan, published by East of Borneo Books, 2012. [Book cover design featuring a blue-tinged photograph of a woman in a white blouse resting casually against an armchair, her left hand reaching up towards her face and her fingers curling in a relaxed position. She appears contemplative, as if she is about to speak. Text superimposed over the top left hand corner of the image reads "Piecing Together Los Angeles: An Esther McCoy Reader."] -
Salad Days. Installation view, Artists Space, 2004. [Two white models of large buildings sitting on a wooden floor. Between the two models is a large mound of dirt.] -
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.] -
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [A silhouetted figure of a person speaking into a microphone. They are backlit by an image of an upside down American flag.] -
Sean Snyder, still from Two Representations of a Given Place (Pyongyang), 2001-4. Courtesy the artist; Galerie Chantal Crousel, Paris; Lisson Gallery, London; and Galerie Neu, Berlin. [A slightly blurry image of a city in the evening. An outline of a tall, triangular building is visible against a sunset sky.] -
The Mind/Body Problem. Installation view, Artists Space, 2006. Photo: Alan Wiener. [Six watercolor paintings affixed to a white wall with pins. The paintings are various sizes, five depicting the sky and landscapes at various times of day. In the center, a man is depicted facing backwards, pulling down his pants to expose a tattoo of a triangle.] -
“Chinatown Is Not for Sale.” Installation by Chinatown Art Brigade. Artists Space Books & Talks, Saturday, October 22, 2016. Courtesy Chinatown Art Brigade, Decolonize This Place and Artists Space, New York. Photo: Marz Saffore [Chinatown anti-gentrification paraphrenelia posted on the wall, with phrases like "Tenants Unite!", "Housing is a Human Right!", "Stop Gentrification Now!" and "Who did you Displace to open your Gallery?", written in English and Mandarin. A monitor displaying a person holding a megaphone at a protest is fixed on the wall, the handouts surrounding it.] -
[A person in a white button-down shirt with an outline of a black tie drawn on the front of the shirt. Their hands are adjusting the collar of the shirt.] -
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.] -
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.] -
Image provided by Oki Sogumi [Two furry, brown and mahogany moths stand back-to-back, behinds touching, on a green leaf. More leaves can be seen in the background.] -
Carol Haerer. Installation view, Artists Space, 1990. Media and dimensions unknown. [A black and white photograph of a tall, narrow rectangle-shaped painting of abstract swirls hanging on a white wall.] -
Metahaven, WikiLeaks, 2011, Scarf. Photo: Meinke Klein. [A portrait of a woman whose face is covered by a colorful cloth that extends over her entire top body. Only the top of her ear and hair are visible.] -
Salad Days 2. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [A metal desk with each of its legs perched on top of four vertical cinderblocks. The side of the desk is decorated with a dark blue and aqua blue stripe. A bright red ball rests on top of the desk.] -
Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979). Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A long rectangular wooden table with three TV monitors facing outwards on different sides. Six small wooden seats with wired headphones resting on them are arranged in front of the monitors. One visible screen displays an image of a man sitting at a table.] -
The Fairy Tale: Politics, Desire and Everyday Life. Installation View. Artists Space, 1986. [A woman looks down and opens a package in her hands while a man looks at her. Peep show neon signs can be viewed in the background.] -
Flyer for Segue Reading Series featuring Norman Fischer and Farnoosh Fathi. Saturday, January 15, 2021, Artists Space. [Black text overlays a mauve background. The top left corner reads: "Norman Fischer & Farnoosh Fathi." The center right reads: "Segue Reading Series & ARTISTS SPACE." The bottom left reads: "Saturday January 15 - 5pm, 11 Cortland Alley + Zoom". The image of a 5 dollar bill is placed within the text.] -
Macho Man, Tell It To My Heart: Collected by Julie Ault. Installation view, Artist Space, 2013. Photo: Daniel Pérez. [An exhibition wall filled with colorful posters, prints and magazine covers, a tv monitor sits on the floor. ] -
See Around. Installation view, Artists Space, 2008. Photo: Adam Reich. [A corner of a wall imposed with the text, "Christa Blatchford: See Around."] -
The Library of Helen DeWitt Kitchen view Courtesy Helen DeWitt [Three white shelves, that extend the entire length of the frame, are filled with books of various colors and sizes.] -
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.] -
Nan Goldin, Suzanne and Phillippe on the train, Long Island, 1992, Framed C-print, 16 x 20 in / 41 x 51 cm, Edition 1 of 100, Signed & Numbered. [Two people sit with a dark blue seat back behind them. One, on the right of the image, looks to the camera with the other lays asleep on their lap across the bottom of the image.] -
Jo Anstey and Julie Zando. Still from The Bus Stops Here, 1990. 27 min. Photo: Micki McGee. [Two people in lab coats and protective goggles are shown in black and white, studying a beaker on the table in front of them.] -
Demonstrations outside Artists Space during the opening of Witnesses: Against Our Vanishing, November 16, 1989. [A line of people marching forward hold up signs reading "replace frony" and "Keep 1st amendment, stop helms," among other phrases.] -
Still from Polly II - A Plan for a Revolution in Docklands (2006). [Two people dressed in black looking down. Superimposed on top of them is a poster reading, "JENNY DIVER CALLS ON ALL PEOPLE OF THE FLOOD EAST ORGANIZE NOW! PEACE TO HUMBLE DWELLINGS! WAR TO THE PALACES!"] -
Anicka Yi, Flirting Is An Algorithm, 2015, Silkscreen on archival box, 24½ x 20½ x 1½ in / 62,2 x 52 x 3,8 cm, Signed and Numbered. [A spotted pattern against a white ground, with each spot having a unique stain, splatter, or drops of ink.] -
In The Poem About Love You Don't Write The Word Love. Installation view, Artists Space, 2006. Photo: Bill Orcutt. [Several sculptures, video works, and models are installed in a gallery space with wooden flooring. Situated closest to the viewer is a geometric, white model installed in an acrylic box, which in turn is displayed on a large wooden table.] -
Miyoko Ito: Heart of Hearts. Installation view, Artists Space, 2018. Photo: Daniel Peréz. [Six paintings are hung on white walls at eye level. The paintings contain muted and vibrant warm colors depicting abstract shapes.] -
Hito Steyerl, We cannot confirm the authenticity of this artwork, 2015, Archival inkjet print with letterpress and blind emboss, 11 x 8 1/2 in (27,9 x 21,6 cm) (image), 20 x 16 in (50,8 x 40,6 cm) (paper), Edition of 10 + 3 AP, Signed and dated imprint. [This print shows an image with text beneath on a white background. The text reproduces the work's caption then beneath that says, "1/10 / This certificate shall serve to verify authenticity and must / accompany the work through any transfer of ownership. / We cannot confirm the authenticity of this artwork. / Hito Steyerl [with signature] Date [with 2015 written]." The image shows a reproduction of the image on a blue background which repeats within that image, and so on.] -
Photo: Mirelle Borra. [Close up of three rows of pre-packaged salads in plastic containers on the shelves of a grocery store refrigerator.] -
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.] -
Les LeVeque, The Rain Forest is on Fire, 1990. Mixed media, 65 x 126 x 26 inches. Photograph c/o Peter McClennan. [A large log spans the length of a table, held down with straps and with eight machetes affixed to the table alongside it. On either end of the log are two televisions, and the one facing the camera displays static.] -
She Who Is: Adrienne Kennedy and the Drama of Difference. Installation view, Artists Space, February 29 – September 19, 2020. Photo: Filip Wolak. [Six glass vitrines displaying books, photographs, and other paper ephemera are installed in the center of a gallery space. A film is being projected on the back wall of the exhibition space.] -
Bookstore at 55 Walker Street. [A photo of the bookstore at 55 Walker Street - the front half is a bookstore, while the back half is an empty exhibition/performance space. Both have white walls and a light wood floor. They are divided by a temporary wall with a large doorway, which leaves a large gap between the top of the temporary wall and the ceiling. The back half is empty, with windows letting in light on the furthest wall. The front half has bookshelves adorning the walls, with a lower shelf to keep some books on display. A red pipe runs floor-to-ceiling between two columns of shelves.] -
[Blue descending text reads, "Ri, ch, ard." Red descending text reads, "Ho, llis."] -
Patricia Caire. Installation view, Artists Space, 1980. [Three figurative paintings hanging on walls in a gallery space.] -
Mark Morrisroe: From This Moment On. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [Two framed collaged images on a white wall. Both display a central image of two dogs.] -
-
Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979). Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A framed photograph displayed on a white wall. The photograph shows multicolored flowers laying on a white surface with a black background.] -
Split/Vision. Installation View. Artists Space, 1985-86. [A number of framed images appear on the wall, on the left there is an organized section of 16 and 8 are hung horizontally next to that grouping.] -
New Galleries of the Lower East Side. Installation view, Artist Space, 1984. Photo: Kenji Fujita. [A black and white photograph of an exhibition space with multiple art works. ] -
Alan Ruiz, Hunter Green 1390, 2016. Courtesy the artist. [Installation view of a mechanical wall covering a window in a gallery space, with a diamond-shaped glass pane in the center letting light through.] -
Poster for Schizo-Culture Colloquium. November 13 – 16, 1975, Columbia University. [Poster design featuring a white background and red text, listing a number of talks and workshops conducted by Sylvère Lotringer, John Rajchman, Arthur Danto, James Fessenden, Jean-François Lyotard, Robert Fine, Joel Kovel, François Péradldi, William Burroughs, Félix Guattari, Michel Foucault, John Cage, Ti Grace Atkinson, and Gilles Deleuze.] -
["We (not I)" typed in red, black, and blue serif font.] -
Flyer for Segue Reading Series featuring Diana Cage & Jackie Ess. Saturday March 20, 2021, Artists Space. [A yellow colored background features black text in the top half of the image that reads, "Segue Reading Series / Diana Cage & Jackie Ess / March 20 / 5pm on Zoom / Suggested donation: Five dollars / Zoom ID: 830 2698 4031." Black text in the bottom right corner reads, "Artists Space."] -
Coop Fund, 2018. Photo: Daniel Pérez. [An angled view of a long white table with eight wooden chairs. A galvanized bucket, an iPad, and two stacks of paper sit on the surface.] -
Not yet titled, 2019
Clay, glaze, mixed media
12 x 13 x 5 inches (variable)
$3,000
[A brown and tan object stands on a white base. On the flat surface of the object, an onion and a lemon sit connected by a rainbow wire. In the base of the object, a processing chip is embedded.] -
Installation view of Social Disease and Two Possibilities, Artists Space, April 12, 1986 - May 10, 1986. [A color television CRT monitor is visible with a man's face on it. This monitor is shrouded in darkness and some indistinguishable object appears to be touching the screen.]
