Exhibits

Ill Seen Ill Said

September 17 – October 29, 2016

Lutz Bacher

John Giorno

Yngve Holen

Tony Morgan (in collaboration with Daniel Spoerri)

Robert Morris

Jean-Luc Moulène

Carlo Scarpa

Jo Spence

Banks Violette

John Waters

Organized by Matthew Strauss

- Installation view
- Installation view
- Installation view
- John Waters
  Faux Video Room, 2006
  iPod, speakers, painted wood, synthetic velour and chromed pole
  110 x 96 x 6 inches
- John Waters
  Faux Video Room, 2006
  iPod, speakers, painted wood, synthetic velour and chromed pole
  110 x 96 x 6 inches
- John Waters
  Faux Video Room, 2006 (detail)
  iPod, speakers, painted wood, synthetic velour and chromed pole
  110 x 96 x 6 inches
- Jo Spence
  The Final Project (Graveyard 1), 1991?1992
  The Final Project (Graveyard 2), 1991?1992
  Positive digital print from 35mm black and white negative
  22 ½ x 14 ½ inches each
- Jo Spence
  The Final Project (Graveyard 1), 1991?1992
  The Final Project (Graveyard 2), 1991?1992
  Positive digital print from 35mm black and white negative
  22 ½ x 14 ½ inches each
- Installation view
- Banks Violette
  Not Yet Titled (The End Edition), 2010
  Steel, light bulbs, electric wires, assorted hardware
  Dimensions variable
- Installation view
- Tony Morgan (in collaboration with Daniel Spoerri)
  Resurrection (Beefsteak), 1968
  Digital transfer of 16mm black and white film, with sound
  8 minutes 25 seconds
- Tony Morgan (in collaboration with Daniel Spoerri)
  Resurrection (Beefsteak), 1968
  Digital transfer of 16mm black and white film, with sound
  8 minutes 25 seconds
- Tony Morgan (in collaboration with Daniel Spoerri)
  Resurrection (Beefsteak), 1968
  Digital transfer of 16mm black and white film, with sound
  8 minutes 25 seconds
- Tony Morgan (in collaboration with Daniel Spoerri)
  Resurrection (Beefsteak), 1968
  Digital transfer of 16mm black and white film, with sound
  8 minutes 25 seconds
- Tony Morgan (in collaboration with Daniel Spoerri)
  Resurrection (Beefsteak), 1968
  Digital transfer of 16mm black and white film, with sound
  8 minutes 25 seconds
- Tony Morgan (in collaboration with Daniel Spoerri)
  Resurrection (Beefsteak), 1968
  Digital transfer of 16mm black and white film, with sound
  8 minutes 25 seconds
- Lutz Bacher
  Tool, 2015
  Metal shovel, wheel device
  72 x 26 x 34 inches
- Installation view
- Yngve Holen
  Hater Headlight, 2015
  Scooter headlight, powder coated steel
  11 3/8 x 18 1/8 x 26 inches
- Yngve Holen
  Hater Headlight, 2015
  Scooter headlight, powder coated steel
  11 3/8 x 18 1/8 x 26 inches
- Carlo Scarpa
  Cinesi Vase, Model 513.3, 1940
  Iridized glass
  9 x 9 x 9 inches
- Jo Spence
  The Final Project (Graveyard 1), 1991?1992
  Positive digital print from 35mm black and white negative
  22 ½ x 14 ½ inches
- Jo Spence
  The Final Project (Graveyard 2), 1991?1992
  Positive digital print from 35mm black and white negative
  22 ½ x 14 ½ inches
- Installation view
- Jean-Luc Moul?ne
  Tronche/Babu Mafflu (Paris, May 2014), 2014
  Polished concrete, blue blanket
  14 1/8 x 8 5/8 x 11 inches
- Jean-Luc Moul?ne
  Tronche/Babu Mafflu (Paris, May 2014), 2014
  Polished concrete, blue blanket
  14 1/8 x 8 5/8 x 11 inches
- Installation view
- John Giorno
  SUICIDES ARE SONGS OF ASPIRATION, 2015
  Acrylic on canvas
  40 x 40 inches
- Robert Morris
  Untitled, 1987
  Acrylic on fiberglass
  73 ½ x 48 x 4 ¾ inches
- Robert Morris
  Untitled, 1987 (detail)
  Acrylic on fiberglass
  73 ½ x 48 x 4 ¾ inches
- Robert Morris
  Untitled, 1987 (detail)
  Acrylic on fiberglass
  73 ½ x 48 x 4 ¾ inches
- Robert Morris
  Untitled, 1987 (detail)
  Acrylic on fiberglass
  73 ½ x 48 x 4 ¾ inches
- John Giorno
  EVERYONE IS A COMPLETE DISAPPOINTMENT, 2015
  Digital print on vinyl
  154 x 154 inches