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

publication
  • SEENSAID1
    • Installation view
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  • SEENSAID2
    • Installation view
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  • SEENSAID3
    • Installation view
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  • SEENSAID4
    • John Waters
      Faux Video Room, 2006
      iPod, speakers, painted wood, synthetic velour and chromed pole
      110 x 96 x 6 inches
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  • SEENSAID5
    • John Waters
      Faux Video Room, 2006
      iPod, speakers, painted wood, synthetic velour and chromed pole
      110 x 96 x 6 inches
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  • SEENSAID6
    • John Waters
      Faux Video Room, 2006 (detail)
      iPod, speakers, painted wood, synthetic velour and chromed pole
      110 x 96 x 6 inches
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  • SEENSAID8
    • 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
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  • SEENSAID9
    • 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
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  • SEENSAID7
    • Installation view
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  • SEENSAID10
    • Banks Violette
      Not Yet Titled (The End Edition), 2010
      Steel, light bulbs, electric wires, assorted hardware
      Dimensions variable
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  • SEENSAID11
    • Installation view
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  • SEENSAID12
    • Tony Morgan (in collaboration with Daniel Spoerri)
      Resurrection (Beefsteak), 1968
      Digital transfer of 16mm black and white film, with sound
      8 minutes 25 seconds
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  • SEENSAID13
    • Tony Morgan (in collaboration with Daniel Spoerri)
      Resurrection (Beefsteak), 1968
      Digital transfer of 16mm black and white film, with sound
      8 minutes 25 seconds
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  • SEENSAID14
    • Tony Morgan (in collaboration with Daniel Spoerri)
      Resurrection (Beefsteak), 1968
      Digital transfer of 16mm black and white film, with sound
      8 minutes 25 seconds
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  • SEENSAID15
    • Tony Morgan (in collaboration with Daniel Spoerri)
      Resurrection (Beefsteak), 1968
      Digital transfer of 16mm black and white film, with sound
      8 minutes 25 seconds
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  • SEENSAID16
    • Tony Morgan (in collaboration with Daniel Spoerri)
      Resurrection (Beefsteak), 1968
      Digital transfer of 16mm black and white film, with sound
      8 minutes 25 seconds
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  • SEENSAID17
    • Tony Morgan (in collaboration with Daniel Spoerri)
      Resurrection (Beefsteak), 1968
      Digital transfer of 16mm black and white film, with sound
      8 minutes 25 seconds
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  • SEENSAID18
    • Lutz Bacher
      Tool, 2015
      Metal shovel, wheel device
      72 x 26 x 34 inches
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  • SEENSAID19
    • Installation view
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  • SEENSAID20
    • Yngve Holen
      Hater Headlight, 2015
      Scooter headlight, powder coated steel
      11 3/8 x 18 1/8 x 26 inches
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  • SEENSAID21
    • Yngve Holen
      Hater Headlight, 2015
      Scooter headlight, powder coated steel
      11 3/8 x 18 1/8 x 26 inches
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  • SEENSAID22
    • Carlo Scarpa
      Cinesi Vase, Model 513.3, 1940
      Iridized glass
      9 x 9 x 9 inches
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  • SEENSAID23
    • Jo Spence
      The Final Project (Graveyard 1), 1991?1992
      Positive digital print from 35mm black and white negative
      22 ½ x 14 ½ inches
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  • SEENSAID24
    • Jo Spence
      The Final Project (Graveyard 2), 1991?1992
      Positive digital print from 35mm black and white negative
      22 ½ x 14 ½ inches
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  • revisedSEENSAID25
    • Installation view
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  • SEENSAID27
    • 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
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  • SEENSAID28
    • 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
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  • SEENSAID29
    • Installation view
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  • SEENSAID30
    • John Giorno
      SUICIDES ARE SONGS OF ASPIRATION, 2015
      Acrylic on canvas
      40 x 40 inches
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  • SEENSAID31
    • Robert Morris
      Untitled, 1987
      Acrylic on fiberglass
      73 ½ x 48 x 4 ¾ inches
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  • SEENSAID32
    • Robert Morris
      Untitled, 1987 (detail)
      Acrylic on fiberglass
      73 ½ x 48 x 4 ¾ inches
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  • SEENSAID33
    • Robert Morris
      Untitled, 1987 (detail)
      Acrylic on fiberglass
      73 ½ x 48 x 4 ¾ inches
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  • SEENSAID34
    • Robert Morris
      Untitled, 1987 (detail)
      Acrylic on fiberglass
      73 ½ x 48 x 4 ¾ inches
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  • SEENSAID35
    • John Giorno
      EVERYONE IS A COMPLETE DISAPPOINTMENT, 2015
      Digital print on vinyl
      154 x 154 inches
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