-
Elephant Cemetery. Installation view, Artists Space, 2007. [A gallery room filled with various sculptures and objects. There are several cube and rectangular sculptures in various sizes, some solidly painted with black, white and silver, and some painted with a brick pattern. There is a table with two projectors projecting a small image on the wall. On the far wall, there are a series of framed drawings. On the righthand side of the room, there is a half-wall behind which a piece made of 7x4 rectangular images hangs on a wall.] -
Untitled, c. 1970s, 35mm slide, Copyright Jack Smith Archive, Courtesy Gladstone Gallery, New York and Brussels [Two people in a mountainous, desert location face each other. One, dressed in an orange and green cloak, sits at a green desk. The other is posed with a mirror aimed at the clear sky.] -
Jeff Preiss, still from STOP, 2012. 16mm film transferred to digital video. [Close-up photo of a person with red hair, leaning against a wall while looking away from the camera.] -
Yellow. Performance view, Artists Space, 2008. [A woman is seated wearing a long, yellow dress with a full skirt that has extra fabric at the bottom. She is holding up soapsuds, which are dripping down onto the front of her skirt.] -
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.] -
In The Poem About Love You Don't Write The Word Love. Installation view, Artists Space, 2006. Photo: Bill Orcutt. [Several rectangular sheets of cream colored paper hang side-by-side on a gallery wall. The papers are arranged in clusters of three or more and appear blank, with faint creases visible on their surfaces.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [Small sculptures on pedestals are lined up diagonally in front of a map and various images.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez. [A large, orange slug sculpture forming a circular ring shape around a cast-iron column suspended by eight elastic cords such that it encircles the column and rests at its vertical center. This is next to a square painting of a partially nude human figure in a white-walled gallery space. In the foreground the viewer can identify a partial view of a large, orange slug forming a circular ring near the ceiling.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [Gray silhouettes are displayed on adjacent walls. Miscellaneous items are displayed on gray tables. A microphone and its extended wire lays on the floor in front of a speaker.] -
Sigmar Polke, Wochenendhaus, 1967. 80 copies + 40 artists proofs, signed and numbered screen print on cardboard, 59,5 x 84 cm. Courtesy of Edition Block, Berlin. [A print illustration of a suburban house. In the foreground, a pink flower cuts across the right frame from top to bottom.] -
The Issues of Our Time. Installation view, Artists Space, 2014. Photo: Adam Reich. [Three large windows are covered with a sheer fabric that includes faded printed text and images. Two gray silhouettes are displayed on the adjacent wall to the left. To the right, an electrical panel with exposed wires sits in the corner.] -
New Economy. Installation view, Artists Space, 2007. [A black box screening room featuring a a video of a bespecaled white haired man with glasses speaking to the camera in front of rows of books.] -
New Red Order: Feel at Home Here. Installation view, Artists Space, May 19 – August 21, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A wide angle image of a dark exhibition space, on the left a large projection is shown on a long wall, on the right photograph negatives hang off a wall. ] -
Underground: Jose Gabriel Fernandez. Installation view, Artists Space, 1991. [A transparent cone-shaped structure set in a bare room with wooden floors. There is a small hole in the wall just behind the structure.] -
Sistema Sandinista de Television. Still from Aqui En Esta Esquina (Here on This Corner), 1983. Video (sound, black and white). Spanish with English subtitles. [A figure stands central raising their arms while others have their back turned towards the viewer as they face an audience seated in the background. Scan lines and the surrounding box of the CRT monitor are visible in the image.] -
Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo (1975–1979). Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A Samsung television monitor displaying Benjamin Buchloh, in a black sweater and thin rectangular glasses, being interviewed.] -
Jana Euler: Unform. Installation view, Artists Space, February 21, 2020 – September 19, 2020. Photo: Daniel Pérez [In the left foreground of the image is a painting of a shark standing upright in water and in the right background of the image is a large, orange stuffed slug sculpture strapped to a cast-iron column in a white gallery space.] -
Joseph Hilton, Beside the Sleeping Guards (of Cairo) Day and Night, 1986. [A drawing of various nude human figures appearing in space with a white background.] -
The Serving Library. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [Several framed posters, photographs, and ephemera varying sizes hang on a white gallery wall. On the right side of the wall hangs a photographic portrait of a figure in a striped shirt standing against a striped wall.] -
Jack Smith: Art Crust of Spiritual Oasis. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [A gallery space with high ceilings and wooden flooring. On the left, three paper collages hang on a two-toned wall. Two videos are projected onto the right wall side-by-side. In the background, a doorway frames a black and white, projected image of a man's face.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Two screens hung on either side of the top of a support beam in a gallery. The room is otherwise empty. One screen depicts a woman walking down a fashion runway, wearing a black jacket and shorts with a sheer top.] -
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Two white panels of canvas positioned together to form a square shape. Both canvases display an organic pink form. Parts of the canvas within the pink shapes stretch outwards to form protruding circular and ovular, knob-like shapes.] -
Lukas Duwenhögger: Undoolay. Installation view, Artists Space, 2016. Photo credit: Jean Vong. [Multiple paintings are hung on white walls, some in rounded frames, depicting various people in outdoor settings. Suspended from the ceiling is a sculpture in the shape of an inverted cone and covered in artificial plants. Multicolored streamers hang from the base of the sculpture.] -
Chinatown Art Brigade and The Illuminator Here to Stay, September 24, 2016 Courtesy Chinatown Art Brigade. Photo: KahEan Chang [A view of Chinatown at night, with a projection onto the side of a building which reads "Save Chinatown" with its own image of Chinatown storefronts underneath.] -
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."] -
[Black, capitlized text that reads, "The Colin de Land Library."] -
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.] -
Lise Soskolne, Film Still: Characters, 1999. Oil on canvas, 66 x 108 inches. [White text arranged in two columns on a black background. Film roles, such as "Desk Clerk" and "Beauty Queen" are listed on the left, with names of actors on the right.] -
Underground: Jose Gabriel Fernandez. Installation view, Artists Space, 1991. [Two neon lights on a wooden floor. One light is coiled within a silver box, while the other rests directly on the floor, attached to a black cord.] -
Enough Tiranny Recalled, 1972–2009. Installation view, Artists Space, 2009. Photo: Daniel Pérez. [A pile of multicolored string lights sits on a wooden floor, surrounded by assorted objects including a disco ball, a candlestick, and two pitchers. There is a pink glow over the objects, with another strand of white lights weaving through the objects.] -
Anna Gili, Casi del Mare. [Five glass sculptures of varying colors arranged in a line. They are painted with small circular and oval dots.] -
Tom of Finland Untitled , ca. 1975 Collage on paper Tom of Finland Foundation, Permanent Collection [Several portraits of men in various shapes, sizes, and colors, layered on top of eachother.] -
Hanno Ahrens. Selections from the Artists File, installation view, Artists Space, 1986. [A photograph of one large painting divided evenly diagonally across in black and white above a smller painting that does the same.] -
Kelly Poe, Untitled (Chaemaea fasciata, Wrentit caught in mist net. Monitoring Avian Productivity Survivorship, Canada Gobernadora, Rancho Mission Viejo, California), 2003. Courtesy the artist and Anna Helwing Gallery, Los Angeles. [A small grey bird with its head and feet caught in a net.] -
Apartment Show: If the dogs are barking. Installation view, Artists Space, 2009. [A long, thin metal pole attached to a round base sticks into the air at a jaunty angle in a gallery space. Several metal clamps are attached to the bottom third of the pole. A collection of photographs, drawings, and paintings are framed and hung on the gallery wall behind the metal pole.] -
Liz Deschenes Ibry's timetable 1878 (Paris - Lyon), 2018, UV print on photogram, 8 x 14 inches, Signed edition of 100, 5APs, Courtesy of the artist. [Black and white chart tracking the movement of trains through major cities in France. Text at the bottom of the chart reads "Fig. 7. Graphique de la marche des trains sur un chemin de fer, d'après la méthode de Ibry."] -
Margia Kramer. Installation view, Artists Space, 1980. [Black and white photograph of cursive white text on a black background on the floor of a room with an upside down chair in the foreground and a heater in the background.] -
Urban Pornography. Installation view, Artists Space, 2001. [Several photographs installed in a gallery space with white walls and wooden flooring. Four color photographs are arranged in a vertical line on a wall to the right side of the image. The wall terminates to the left of the displayed photographs, and a second wall extends into the gallery space directly behind it. Two large images comprised of pink and purple hues hang on a far gallery wall in the background of the image. The image on the left displays a futuristic looking, interior space.] -
New Red Order Give it Back, detail, 2020 Acrylic LED displays with cut vinyl, water cooler, poster, couch, desk, chairs, magazine rack, The New Red Times Magazine, and three televisions. Image courtesy Artists Space, New York Photo: Filip Wolak [A close up image of three tv monitors on a wall with vinyl lettering that reads "New Red Order", in the right corner is a water cooler. ] -
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.] -
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."] -
Jerry Beck. Installation view of Cryptic Cross. Artists Space, 1985. [A sculpted pedestal with a black object on it is visible below a sculpted multilayered cross hanging on a gallery wall. Sharp lighting shrouds most of the image in darkness with a light falling on the figure on the pedestal.] -
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.] -
U.S. Projects: Howard Fried. Installation view, Artists Space, 1983. [A sink structure on wheels sits atop a tilted wooden table top with legs of varying sizes. Light from the ceiling is seen emanating onto the structure in the white-walled gallery space.] -
Lines of Loss. Installation view, Artists Space, 1997. Photo: Bill Orcutt. [An installation consisting of a series of readymade objects displayed on a wooden gallery floor. To the right, an open book rests on a wooden folding chair. One metal clamp light is attached to the chair, while a second light is attached to a reclining, green lounge chair on the left of the gallery space. Two additional clamp lights rest on the floor between the chairs. An ashy material is scattered on the ground between the chairs.] -
Jenny Holzer. Poster, 1982. [Magenta pink background with black text that reads, "YOU GET AMAZING SENSATIONS FROM GUNS. YOU GET RESULTS FROM GUNS. MAN IS AN AGRESSIVE ANIMAL; YOU HAVE TO HAVE A GOOD OFFENSE AND A GOOD DEFENSE. TOO MANY CITIZENS THINK THEY ARE HELPLESS. THEY LEAVE EVERYTHING TO THE AUTHORITIES AND THIS CAUSES CORRUPTION. RESPONSIBILITY SHOULD GO BACK WHERE IT BELONGS. IT IS YOUR LIFE SO TAKE CONTROL AND FEEL VITAL. THERE MAY BE SOME ACCIDENTS ALONG THE PATH TO SELF-EXPRESSION AND SELF DETERMINATION. SOME INNOCENT PEOPLE WILL BE HURT. HOWEVER, G-U-N SPELLS PRIDE TO THE STRONG, SAFETY TO THE WEAK AND HOPE TO THE HOPELESS. GUNS MAKE WRONG RIGHT FAST."] -
The Owl Answers. Performance documentation, February 29, 2020, Artists Space. Photo ©️ 2020 Filip Wolak. [Five figures standing before a set of music stands. The figure closest to the viewer stands in profile and gazes ahead, while two figures directly behind them look towards him with furrowed brows.] -
[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."] -
[A black and white image of a girl sitting sideways on stone steps against a wall reading a book. Several more books are piled in front of her.] -
Louise Lawler, Egg and Gun (distorted for the times, dire), 2008/2017. [A composited image of a gallery scene, building from a street view, hand gun, and a blue rose against a yellow back ground, distorted through buldges and pulls.] -
Adjua Gargi Nzinga Greaves, INDEX, 2021, C-trans print mounted on lightbox, 41 1/2 x 41 1/2 x 5 inches [Four books are arranged in the center of a color photograph in a grid-like formation, their edges meeting. Handwritten notations surround the books.] -
Unholding. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Miniature houses constructed of documents are displayed in the middle of the room on vitrines. A purple and yellow collage hangs on the back, left wall. The right wall displays colorful paper bags and a video monitor projecting an image of a robotic animal.] -
Bernadette Corporation: 2000 Wasted Years. Installation view, Artists Space, 2012. Photo: Daniel Pérez. [Two black display cases in the middle of a gallery space, with clear horizontal glass cut-outs, one taller than the other. Each display case houses a collection of mugs and other ephemera.] -
Miguel Angel Rios, Morir ('til Death), 2003. [A collection of black spinning tops on concrete. Several are upright, spinning, and several have fallen onto their sides. A white grid is just visible on the ground beneath them.] -
Allora & Calzadilla, Bandage, 2011, Painted cast white metal, 3 x 3/4 x 1/16 in / 7,6 x 2 x .16 cm, Signed certificate. [A small, tan bandage lying face-down on a white background.] -
Flyer for Segue Reading Series featuring Michael Gottlieb and Duriel E. Harris. Saturday, October 3, 2020, Artists Space. Artist: Keith Higginbotham [A cut-out reproduction of a painting depicting a figure being beheaded is collaged over a black and white photograph of a renaissance style interior. Black text over the top half of the image reads "Michael Gottlieb / Duriel E. Harris," and in the bottom corner black text reads "Segue."] -
Sarah Morris, still from Strange Magic, 2014. REDCODE HD digital video, 45 min 8 sec. Courtesy the artist. [Close-up of a bottle of golden Dior perfume decorated with a black bow resting on a white surface.] -
In The Poem About Love You Don't Write The Word Love. Installation view, Artists Space, 2006. Photo: Bill Orcutt. [Three free-standing walls supporting a series of shelves are arranged at right angles around a pole in a gallery space. The shelves display a series of pieces of paper containing both images and text. The shelves are yellow, and a portion of the center of the column has also been painted yellow.] -
[A warm-colored living space littered with discarded wrapping paper and boxes. A champagne bottle sits on a side table next to an orange couch.] -
Julie Wachtel & Chris. Selections from the Unaffiliated Artists File. Installation view, Artists Space, 1981. [Photographs of various figures are hung next to one another in a gallery setting.] -
Installation view from Six Sculptors, Artists Space, January 25, 1986 - February 22, 1986. [A number of small figurines appear on a sculpted object with various other items including a half of a guitar and a picture. All appearing in a white-walled gallery space.] -
Installation view from Four Artists: An Exhibition of Painting and Sculpture, Artists Space, 1985 -
Flyer by Bill Hayden. [A woman vaping in profile against a black background. An image of another woman and a child are visible in her exhaled smoke.] -
Gerome Kamrowski. Hopeful Monster, 1980. [A number of colorful animal-like figures appear in space with a white background.] -
Still from livestream Foam Party Cancelled. [An internet browser displaying artistsspace.org/stream with two videos shown side-by-side, streaming from Ustream. On the left, a camera near the floor shows an empty room and a wall with the words "FOAM PARTY CANCELLED" drawn on. On the right, a close-up image of a bird sculpture and two candles, with a person's face and painting in the background.] -
Till They Listen: Bill Gunn Directs America. Installation view featuring various ephemera from Stop, c. 1970, c. 1973, Artists Space, June 5 – August 15, 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A floating glass display case holding a black and white image, and multiple booklets of text. ] -
[A black and white, vintage photograph of a male figure leaning casually against a low wall by a river. The figure's long back faces the viewer, and we cannot see his face. He wears a short piece of cloth at his waist, while his upper body is bare.] -
The New Normal. Installation view, Artists Space, 2008. Photo: Adam Reich. [A large screen in a dark room, showing an image of a pair of bare legs from the knees down.] -
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.] -
Leaflet cover for Extended Definitions, Artists Space, 1989. [A black and white close-up photograph of an eye. Text at the top reads, "Extended Definitions: Video Experiments in Perception." Text at the bottom reads, "September 28-November 4, Artists Space."] -
Poor Man's Expression - Technology, Experimental Film, Conceptual Art, edited by Martin Ebner and Florian Zeyfang, published by Sternberg Press, 2011. [A book cover design displaying an image of a series of triangular shapes of varying colors arranged in an abstract comoposition. Some of the triangles are semi-transparent and are overlaid over others. Large block lettering situated above and below the composition reads, "POOR MAN'S EXPRESSION Technology, Experimental Film, Conceptual Art."] -
Zilia Sánchez. Still from Soy Isla. Compréndelo y Retírate, 2000. [A VHS recording of a person holding an object on the beach.] -
Installation view at Kaiserstraße 31A, Düsseldorf May 11, 1963 Courtesy Archiv Kuttner, Erkrath Photo: Manfred Kuttner [A black and white image of the back of a chair in front of a man in front of a train car, in which a man exits the door.] -
Margit Lewczuk. For Freda, 1985. -
Zilia Sánchez. Installation view, Artists Space, 2013. Photo: Daniel Pérez. [Three light, mauve-colored walls in an exhibition space each display several canvases. The three walls are arranged such that they are parallel to each other. Each of the canvases are slightly three-dimensional, with elements that stretch in or out from their surfaces.] -
![The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left]](data:image/svg+xml,%3Csvg xmlns='http://www.w3.org/2000/svg' width='1500' height='1057'%3E%3C/svg%3E)
Amy Sillman, Turtlenecks, 2007, Archival ink jet on Somerset Paper, 11 1/4 x 17 1/2 inches (28.6 x 44.5 cm), Edition of 17, 10 AP, 1 BAT, Courtesy the artist and Sikkema Jenkins & Co., Printed by Jean-Yves Noblet Contemporary Prints. [The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left] "When did you get here?" [below figure on right] "Are you going to Basel?" At the bottom, center of the page is written "Turtlenecks."] -
Warnung vor einer heiligen Nutte (Beware of a Holy Whore). Dir. Rainer Werner Fassbinder. 1971. [Two people sitting in front of a window looking towards the camera, one wearing a red dress and the other a black shirt and top hat.] -
Laura Cottingham & The Anita Pallenberg Story. Installation view, Artists Space, 2017. Photo: Daniel Pérez. [Eight, framed, color photographs arranged into a grid on a white wall.] -
Tiffany Sia, In Plain Sight (detail view), 2021. Courtesy Artists Space, New York. Photo: Filip Wolak [A close-up photograph of an orange LED light on the gallery floor. Black vinyl on the floor in front of the LED reads, "SIGHT]."] -
Gordon Onslow-Ford, Being Space, 1985. [A number of abstract lines and shapes appear in a star-like nature with a black background.] -
Ed Atkins, Death Mask II: The Scent, 2010. HD video with sound, 8 minutes 19 seconds. Courtesy the artist, Cabinet Gallery, London and Isabella Bortolozzi Galerie, Berlin. [An open folding calculator, turned on its side and illuminated by bright green, peach, and pink lights.] -
[A woman holding a large blue bag. To her right, vertical black text reads, "HAUST."] -
Photo: Gabe Hoot. [A woman in a pink dress sitting at a table in a yard surrounded by stuffed animals and a tea set.] -
Carol Sun. Prospect Park Series - Ornithos, 1987. [Dark drawing with white curved shapes in lines visible in the center with a perspectival depth.] -
Opening at the Tanager Gallery, NY, 1959. [A black and white photograph of a crowded room filled with people conversing.] -
Portrait of Jackie Wang. [A figure, centered within the frame, leans against a beige tiled wall and stares directly into the camera.] -
John Brattin, 1997. [A black and white Polaroid of a swirl on a striped background. At the bottom of the image, black handwritten text reads, "John Brattin - Enamel/Foam Giant Lollippop 7'H 3'Diam."] -
I Thought I Had Time. Installation view, Artists Space, 1992. [A series of rectangular and square panels, strips of wood, and portions of ornate frames installed on a white wall. The installed elements are positioned adjacent to one another such that they form a larger, irregular shape. The panels feature black, white, and muted colors. Some feature abstract painted compositions and color blocks, others include text and collaged photographs.] -
Marz Saffore speaking at “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 [Marz Saffore, dressed in a beige argyle swearer, a polka dot button up, jeans, and a green cap, sits and speaks into a microphone.] -
Zona. Carga Y Descarga, Issue 1, September-October 1972. Editor and Publisher: Rosario Ferré. Design and Photomontage: Zilia Sánchez. [Pages of an old magazine containing text and printed images.] -
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork by Gary Burnley. [People standing around a gallery space with various globes surrounding them and frame images hanging on the wall to the right.] -
Zona. Carga y Descarga, Issue 3, 1973. Courtesy Rosario Ferré. [A blue and yellow promotional flyer with text in Spanish.] -
[Fuel prices listed in white numbers separated by red lines on a dark blue display sign.] -
-
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.] -
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.] -
The columns held us up. Installation view, Artists Space, 2009. Photo: Adam Reich. [A projection on a wall in a dark room shows an image of a man holding a boombox with the text, "SELF PORTRAIT (2006), Burt Barr, American, b. 1938" displayed to the right of his figure.] -
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.] -
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.] -
Tom of Finland, Reference Pages, ca.1966 – 90. Collage on paper. Courtesy Tom of Finland Foundation. [A book case displaying 5 paper collages of men's portraits.] -
Ming Joon Art. Installation view, Artists Space, 1988. [A photograph of a gallery space with white walls hung with artworks. In the foreground is a large painting that takes the form of a map of Korea. In the background, another gallery with more artworks is visible.] -
Malkiyah Yehuda, Grasp, 2017. [A close-up image of two people holding hands, one in a red jacket and the other in a black sweater.] -
Harris, Cheryl I, "Whiteness as Property." Harvard Law Review. Vol. 106, No. 8, June 1993. [The title and table of contents page of an essay published in the Harvard Law Review.] -
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.] -
[A pattern consisting of blue prints of delicate flowers repeats across a white surface. The image resembles wallpaper.] -
Production still from Black Picture Show, 1978, picturing Sam Waymon. Photo: Marshall Johnson. Image courtesy of the artist. [A black-and-white photograph of a figure sitting in front of a microphone. The left side of their face and body is in shadow.] -
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.] -
Salad Days 2. Installation view, Artists Space, 2006. Photo: Bill Ocrutt. [Five photographic collages installed in white frames arranged in a horizontal row along a blank wall.] -
[A man in a white shirt and pinstriped vest and pants casually holds a black jacket over one shoulder. "Undoolay" is in pink script on the bottom of the image, crossing over "Elective Affinities".] -
REALLIFE Magazine, First issue, March 1979. Artwork by Sherrie Levine. [A silhouette of a human head in profile is filled with a photograph of a woman looking directly at the camera, her arms outstretched either side of a dark scultpure of child's head. Text situated above the image reads, "REALLIFE Magazine, March 1979, $1."] -
Keith J. Sanborn, A Public Appearance and a Statement, 1987. 18.5 minutes, 3/4" (original format 16mm), black and white. Film still. [A dense crowd of people surrond a casket being carried into the back of a hearse.] -
Living with Pop. A Reproduction of Capitalist Realism 2014 Gerhard Richter Party, 1963 © Atelier Gerhard Richter [A black and white paintng of a group of individuals in party attire, multiple accents of red are placed throughout the painting. ] -
Caitlin Keogh, Interiors, 2016, Silkscreen on paper, 24 x 18 in / 61 x 45,7 cm, Signed and Numbered. [A graphic illustration of a headless female mannequin is seated against a checkered background. Her arms suggest the motion of tightening a sash around her waist, but the implied fabric around her body is missing from the image, leaving an empty space that divides her body in two halves.] -
Marlon Riggs, still from Tongues Untied, 55 min, 1989. Credit: Signiyin' Works. [Two men embrace in the background, while a man wearing a black top hat stands in the foreground gazing at the camera.] -
Duncan Campbell: Make it new John. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A large room with a wooden table in the foreground. A standing screen is centered between two white poles, showing a projected image of a white sign with handwritten text reading "DELOREAN DREAM WORKERS NIGHTMARE."] -
[A screenshot of the google images search results page for the query "the problem with contemporary art is not the contemporary."] -
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.] -
Paintings by Kathleen Gilje, sculpture by Mike Metz. ISelections from the Unaffiliated Artists File. Installation view, Artists Space, 1981. [A sculpture sits to the right in front of two paintings in a gallery space.] -
Artists Space's two tote bags. [Two Artists Space tote bags lay in the autumn grass. One is black with a white architectural line drawing with the phrase "OPEN TO BEYOND" at center, the other is pink with a black bold graphic of an "A" inside an outlined circle.] -
Laura Poitras: 9/11 Trilogy. Installation view, Artists Space, 2014. Photo: Daniel Pérez. [A photograph of an empty room, dimly lit with chairs in the background, where a projection is playing on the wall. The projection displays an image of a man with tan skin and facial hair, wearing aviators, talking to a soldier.] -
The Library of Helen DeWitt Kitchen view, Courtesy Helen DeWitt. [Several books of different sizes and colors rest on the floor. The floor molding is visible in the bottom right frame.] -
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.] -
Gillian Walsh, score for Dance studio life ✌ These girls were amazing today!, 2015. [1's and 0's written in pencil on grid paper. Some letters have been circled.] -
Selections from the Unaffiliated Artists File. Installation view, Artists Space, 1981. [Dark photograph of a plywood sculpture with shelves in a gallery space.] -
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork by Candice Hill-Montgomery. [Black and white photograph of white picket fence with dark painted background behind it.] -
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.] -
New Red Order: Informants Get Paid! Performance documentation, January 23, 2020, Artists Space. Photo © 2020 Paula Court. [Several silhouetted figures backlit by a red glow stand among columns. The figure in the center holds a white-lit object in the air.] -
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 display of multiple images on a white gallery wall.] -
Young Fluxus. Installation view, Artists Space, 1982. [Detail of diamond-shaped sculpted object in its square container.] -
-
Mark Morrisroe: From This Moment On. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A white wall with twenty-four framed photograms arranged in an eight by three rectangle.] -
Mélanie Matranga, Not, 2014 [A black and white line illustration of a person shaking in the middle of room. The open windows depict a wind blowing papers into the space.] -
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 black and white image on a beige wall, CRT monitors displaying individuals in a bluish hue, a tulip chair against a seafoam colored wall, and a single viewing station.] -
Living with Pop. A Reproduction of Capitalist Realism. Installation view, Artists Space, 2014. [Three large prints rest on the floor against a windowed wall. Two on the left are black and white, of an interior room. On the right is a colorful illustration of two women.] -
[A black and white, square wordsearch grid.] -
Ryan Gander, What the postman brought, 2007, Mixed media Variable size, Edition of 17, 3 AP, Courtesy the artist, STORE London and Annet Gelink Amsterdam. [The photograph shows a framed image with black geometric patterns mounted on a white wall with a black sculpture to its left sitting on a white plinth.] -
ART CLUB2000 Untitled (Grim Reaper), 1999 Wood, galvanized netting, black fabric, chain, plastic scythe, and rubber skeleton hand Image courtesy Artists Space, New York Photo: Filip Wolak [A grim reaper shrouded in deep red light pulls back a black curtain, beckoning one into a seperate vacant room.] -
Morton Livingston Shamberg and Elsa von Freytag-Loringhoven. God, 1917. Philadelphia Museum of Art [A black pipe coming out of a concrete slab beneath it, twisting around, pointed up and cut off, against a whitish slab behind it, as if to frame the pipe.] -
Gary Burnley, Martin Cohen, Candance Hill-Montgomery, Lewis Stein, Haim Steinbach. Installation view, Artists Space, 1979. Artwork: Candace Hill-Montgomery. [A few people standing in a gallery space with a picket fence and drapery on the walls behind them.] -
[Cutouts of black and white illustrations arranged next to each other. In the center, several illustrated eyes form a circle. Above the eyes is a round, illustrated face, while two wings are positioned below the eyes.] -
The Library Vaccine. Installation view, Artists Space, 2014. [A seven shelf, white, book case is housed full of various colorful and sized books.] -
“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.] -
Julie Wachtel. Installation View. Artists Space, 1985-86. [A split-screen image of a kitten sleeping with a pink blanket hanging on a white wall. Both images appear identical in photograph.] -
Robert M. Young, still from Short Eyes, 1977. 35mm, 100 min. [A man wearing a denim vest is seen within the cramped, barred space of a prison.] -
Joseph Hilton, Beside the Sleeping Guards (of Cairo) Day and Night, 1986. [A diptych drawing of one figure sitting cross-legged on the left and another figure lying down next to flowers in a vase depicted on the right.] -
Charlotte Posenenske. Configured by Rirkrit Tiravanija. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [Six geometric, silver metal sculptures installed on low dolleys with wheels sit, scattered, across a wooden gallery floor. The sculptures are modular, hollow, and consist of cube-like and triangular metal components. Long arrows of colorful tape are installed on the gallery floors.] -
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.] -
Coop Fund, Amalle Dublon & Constantina Zavitsanos, Devin Kenny, John Neff. Installation view, Artists Space, 2018. Photo: Daniel Pérez. [Two monitors are hung on a white wall. On the left, an image of a man crouching in a room with a chair sitting on the ground behind him. On the right, a purple, pink, and red graph is displayed next to a column of indicating numbers.] -
Yates McKee, Strike Art: Contemporary Art and the Post-Occupy Condition (New York: Verso Books, 2017); edited by Nina Felshin, But Is It Art?: The Spirit of Art as Activism (Toronto: Bay Press, 1995). [A collage of images including book covers, "Strike Art," and "But is it Art?: The Spirit of Art as Activism," displayed alongside images of protestors holding up banners reading "Decolonize This Place" and a large banner draped across a clocktower that reads, "Free Education to All."] -
Charlotte Posenenske. Configured by the staff of Artists Space. Installation view, Artists Space, 2010. Photo: Daniel Pérez. [A geometric, silver metal sculpture sits on a wooden gallery floor. The sculpture is modular and hollow and consists of rectangular and triangular metal components arranged in a long form that snakes across the ground before arching up and down, forming a large U-shaped archway.] -
Drum Suit, 1983. Illustration. [An outline drawing of a figure in motion with one leg raised. Handwritten text notates points on the figure, reading, "Drum suit: sensors are attached and played remote" as well as "bass drum," "high hat," "snare," and "drum claps."] -
Jenny Holzer. Video still of Re-Make, 1982. [Dark image of the upper torso of a woman with liquid dripping in the foreground of the image.] -
Holly Morse, Bringing Home the Bacon, 1989. Oil on linen, 24 x 24 inches. [A slice of bacon on a red background, with the words "bringing home the B." spiraling on top of it in black text.] -
Flyer for Segue Reading Series featuring t'ai freedom ford & Terrance Hayes. Saturday February 20, 2021, Artists Space. [A purple colored background features black text in the top half of the image that reads, "Segue Reading Series / t'ai freedom ford & Terrance Hayes / February 20 / 5pm on Zoom / Suggested donation: Five dollars / Zoom ID: 830 2698 4031." Black text in the bottom right corner reads, "Artists Space."] -
Young Fluxus. Installation view, Artists Space, 1982. [Plastic bags of objects appear on a white gallery wall.] -
Anne Bray. Man on First and Third, 1987. Slide/Sound Installation. [A black and white photograph with two projectors hanging central with projections on one wall and another hanging screen in a gallery space.] -
Mark Morrisroe. Still from The Laziest Girl in Town (1981). [Two people with wigs and highly made up faces. The front figure is holding a cob of corn with the end in their mouth, looking suggestively at the camera. Behind them, a second figure holds a small eggplant with the end in their open mouth.] -
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.] -
Nina in Position. Installation view, Artists Space, 2008. Photo: Bill Orcutt. [Three screens and a metallic sculpture are installed in a gallery space with wooden floors. The three screens are arranged next to each other, with the screen closest to the viewer displaying a series of figures with three bright forms attached to their torsos. The other two screens show increasingly blurry renderings of the same image. To the right of the screens, a tall, shiny and metallic sculpture sits on the gallery floor. A pocket-sized image of a figure is pasted to the sculpture's left sides.] -
[An illustrated black and white poster titled, "Artists Space Presents / Doug & Mike's Adult Entertainment." There are two hand puppets labelled Doug and Mike, with smaller portraits of assorted characters arranged around them. Additional text at the bottom notes the location and admission information.] -
Mike Parker, This Town Needs an Enema, 1990. Oil on canvas. [Yellow cursive text superimposed over an array of plush, blue diamonds. The text is slightly hazy and reads, "Let's Broaden Our Minds."] -
Christopher Wool, untitled (wool poster between bridges), 2020, 23.5 x 16.5 inches [A black and white image featuring a large, dark shape that resembles a plus sign. The plus sign sits at the center of a white backdrop covered by various irregular markings, including a large ink blot and print markings. While the surface of the plus sign is opaque, the background markings are slightly transparent. Small black text placed at the image's lower left corner reads, "2020Solidarity - Christopher Wool," while text placed at the image's lower right corner reads, "A project by Between Bridges."] -
Hilary Lloyd. Installation view, Artists Space, 2011. Photo: Daniel Pérez. [A single screen showing a splitscreen image is mounted on two poles that stretch floor to ceiling. The screen stands alone in a large, open space with windows in the background.] -
Ian Bader. Spalation Clock, 1977. Axonometric. [Drawing of large square architectural development with half circle surrouding it and a small development above it to the right.] -
Michelle Santiago, Trap, photography, 2014 [A photograph with a striped blue and white blurry background. In the center of the image, outlined in a blurry orange circle, is a clear image of a rope tied into a knot, holding a white object] -
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.] -
We the People. Installation View, Artists Space, November 12, 1987 - December 23, 1987. [Paintings and collages appear on a white gallery wall and a scultpure on a pedestal sits in the foreground.] -
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."] -
General Idea: Image Virus, by Gregg Bordowitz, published by Afterall Books, 2010. [A book cover design consisting of a pattern of bright red, green, and blue letter tiles spelling out "AIDS" in square formations. White text overlaid on top of the patterning in the cover's upper left corner reads "General Idea Imagevirus Gregg Bordowitz"] -
ART CLUB2000 Selections from ART CLUB2000 archive, detail, 1992–1999 Image courtesy Artists Space, New York Photo: Filip Wolak [A glass case displaying archival documents and images] -
Amy Westpfhal, still from The Informational Cookie Project, 2006. [A figure in a white military uniform shirt approaches a group of women on a city street. She holds out a platter of small cookies wrapped in small plastic wrappers to one of the figures, who has taken the cookie, unwrapped it, and reads a small note attached to it.] -
Social Surfaces. Installation view, 55 Walker Street, 2017. Photo: Ron Amstutz. [A wooden bench with a white, dome-like structure attached to its corner. Two framed drawings hang on the wall in the background.] -
[A low-angled view of an empty gallery space with wooden flooring and white walls.] -
Emily Garcia, Princess Swan, 2013 [An abstract, colorful drawing, with several geometric patterns overlaid with freehand flowing shapes.] -
[Graphic logo reads I ♥ John Giorno in red text.] -
ART CLUB2000 Gli Avvoltoi (The Vultures), 1995 Vinyl paint and newsprint flyer Image courtesy Artists Space, New York Photo: Filip Wolak [Behind two large columns is a wall mural displaying multiple cartoon vultures resting on black scaffolding. Beside the mural sits a pile of newsprint flyers.] -
-
See Around. Installation view, Artists Space, 2008. Photo: Adam Reich. [A dimmed room with three projections, one casting purple light, the other two depicting stills of shorelines. In the corner, a small, round seat is visible.] -
Artists Space Curator Jamie Stevens speaking with P.S. 140 Portfolio Students [Two people stand in the foreground: one person holds a notebook and points to a page while the other looks on.] -
[Black and white image of several popular romance novel covers arranged in a grid formation. Dispersed amongst the covers are photos of desert canyons and other abstract, inky images.]
![The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left]](https://artistsspace.org/media/pages/store/editions/3365211628-1623172903/sillman-turtlenecks-lo-res-168x.jpg)
![The busts of two figures are drawn in black ink in front of a grey background. Below each figure is a text bubble that read: [below figure on left]](https://artistsspace.org/media/pages/store/editions/3365211628-1623172903/sillman-turtlenecks-lo-res.jpg)
