Artists Space

Witnesses:
Against Our Vanishing

November 16, 1989 – January 6, 1990

Organized by Nan Goldin

Four overlapping photographs show a panorama of a crowd outside Artists Space at night. One group int he foreground files into the gallery through its double doors, while others on the sidewalk hold protest signs.
Demonstrations outside Artists Space during the opening of Witnesses: Against Our Vanishing, November 16, 1989. [Four overlapping photographs show a panorama of a crowd outside Artists Space at night. One group int he foreground files into the gallery through its double doors, while others on the sidewalk hold protest signs.]

Artists Space is pleased to present Witnesses: Against Our Vanishing, a group exhibition organized by artist/photographer Nan Goldin. The exhibition includes photographs, drawings, paintings, and sculptures by artists David Armstrong, Tom Chesley, Dorit Cypis, Phillip-Lorca diCorcia, Jane Dickson, Clarence Elie-Rivera, Darrel Ellis, Allen Frame, Peter Hujar, Greer Lankton, Siobhan Liddell, Mark Morrisroe, Perico Pastor, Margo Pelletier, Vittorio Scarpati, Jo Shane, Kiki Smith, Janet Stein, Tabboo! Stephen Tashjian, Shellburne Thurber, Ken Tisa, Robert Vitale, David Wojnarowicz. Accompanying the exhibition is a catalogue with reproductions of each artist's work and essays by Nan Goldin, David Wojnarowicz, Linda Yablonsky and Cookie Mueller.

November 28, 1989

Two evenings of readings in conjunction with the exhibition Witnesses: Against Our Vanishing (Part 1)
7pm

November 29, 1989

Two evenings of readings in conjunction with the exhibition Witnesses: Against Our Vanishing (Part 2)
7pm

Various paintings, drawings, and sculptures of torsos hang along a wall. In the corner, a bust with an upturned face sits on a pedestal.
Witnesses: Against Our Vanishing. Installation View, Artists Space, 1989. Photo: Frances Miller Smith. [Various paintings, drawings, and sculptures of torsos hang along a wall. In the corner, a bust with an upturned face sits on a pedestal.]
A close up view of two abstract, earth-toned paintings hanging on a wall. Beyond them a doorway and another room with more painting is visible.
Witnesses: Against Our Vanishing. Installation View, Artists Space, 1989. Photo: Frances Miller Smith. [A close up view of two abstract, earth-toned paintings hanging on a wall. Beyond them a doorway and another room with more painting is visible.]
Two rooms in a large gallery space are visible, with artworks hung on the walls and sculptures in the center of the further room.
Witnesses: Against Our Vanishing. Installation View, Artists Space, 1989. Photo: Frances Miller Smith. [Two rooms in a large gallery space are visible, with artworks hung on the walls and sculptures in the center of the further room.]
A wide view of a gallery. A sculpture including two small tables is next to a column in the center of the room. The far wall is hung with paintings and photographs, and a monochormatic white sculpture of a human figure hangs from the ceiling.
Witnesses: Against Our Vanishing. Installation View, Artists Space, 1989. Photo: Frances Miller Smith. [A wide view of a gallery. A sculpture including two small tables is next to a column in the center of the room. The far wall is hung with paintings and photographs, and a monochormatic white sculpture of a human figure hangs from the ceiling.]
A wide view of a gallery featuring an array of paintings, sculptures, and photographs hung along a wall and wrapping around a corner.
Witnesses: Against Our Vanishing. Installation View, Artists Space, 1989. Photo: Frances Miller Smith. [A wide view of a gallery featuring an array of paintings, sculptures, and photographs hung along a wall and wrapping around a corner.]
A gallery with low lighting and white walls is hung with a painting and a grid of photographs. More artworks are visible around a corner in another room.
Witnesses: Against Our Vanishing. Installation View, Artists Space, 1989. Photo: Frances Miller Smith. [A gallery with low lighting and white walls is hung with a painting and a grid of photographs. More artworks are visible around a corner in another room.]
Three figurative, red and black gestural paintings hang on a white wall. On the left, a vertical work shows the exterior of a building with a ladder leading to a window. On the right, two horizontal works hung one above the other feature pairs of chairs, each connected by a circle.
Works by Robert Vitale. Witnesses: Against Our Vanishing. Installation view, Artists Space, 1989. [Three figurative, red and black gestural paintings hang on a white wall. On the left, a vertical work shows the exterior of a building with a ladder leading to a window. On the right, two horizontal works hung one above the other feature pairs of chairs, each connected by a circle.]
In a corner of a gallery space, a small black and white photograph hangs in a black frame on the left wall. On the right, a small white panel of black text hangs above a sign attached to a glass box that protrudes from the wall. Inside the box are what appear to be bloodied white linens, and on the sign above them the words "AM I DEAD YET" are written in blood.
Works by Mark Morrisroe. Witnesses: Against Our Vanishing. Installation view, Artists Space, 1989. [In a corner of a gallery space, a small black and white photograph hangs in a black frame on the left wall. On the right, a small white panel of black text hangs above a sign attached to a glass box that protrudes from the wall. Inside the box are what appear to be bloodied white linens, and on the sign above them the words "AM I DEAD YET" are written in blood.]
Photographs hang on a white wall. On the left, two black and white portraits are stacked vertically. In the center, a row of five color photographs includes a person sitting in a lounge chair and a person in a hospital bed. On the right, the edge of a painting in visible.
Works by Philip-Lorca diCorcia. Witnesses: Against Our Vanishing. Installation view, Artists Space, 1989. [Photographs hang on a white wall. On the left, two black and white portraits are stacked vertically. In the center, a row of five color photographs includes a person sitting in a lounge chair and a person in a hospital bed. On the right, the edge of a painting in visible.]

A line of people marching forward hold up signs reading, "NO TAXATION WITHOUT ARTISTIC REPRESENTATION" and "FASCISM BEGINS WITH CENSORSHIP,
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, "NO TAXATION WITHOUT ARTISTIC REPRESENTATION" and "FASCISM BEGINS WITH CENSORSHIP,' among other messages.]
A line of people hold signs with messages including, "ED HELMS impedes THE 1ST AMENDMENT" and "OBSCENE ART?".
Demonstrations outside Artists Space during the opening of Witnesses: Against Our Vanishing, November 16, 1989. [A line of people hold signs with messages including, "ED HELMS impedes THE 1ST AMENDMENT" and "OBSCENE ART?".]
A line of people marching forward hold up signs reading "replace frony" and "Keep 1st amendment, stop helms," among other phrases.
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.]

Witnesses: Against Our Vanishing Press Release

Witnesses: Against Our Vanishing Exhibition Catalogue

Witnesses: Against Our Vanishing Postcard

Kastor, Elizabeth, "NEA Pulls Grant to 'Political' Exhibit." The Washington Post. November 9, 1989.

Kimmelman, Michael, "Nonprofit Gallery in TriBeCa Finds Itself at Storm's Center." The New York Times, November 10, 1989.

Honan, William H., "The Endowment vs. the Arts: Anger and Concern." The New York Times, November 10, 1989.

"Offensive Art Exhibit," The New York Post, 1989.

Statement from the office of John E. Frohnmayor, Chairman of the NEA

Artists Space Press Release on the Withdrawal of NEA Funding

ACT UP Press Release on the Withdrawal of NEA Funding

ACT UP Fact Sheet on the Withdrawal of NEA Funding

David Wojnarowicz's Statement on the Withdrawal of NEA Funding

Witnesses: Against Our Vanishing is funded in part by the National Endowment for the Arts and the Robert Mapplethorpe Foundation.

Artists Space programs are made possible by: the National Endowment for the Arts, a federal agency, New York State Council on the Arts, and New York City Department of Cultural Affairs; AT&T Foundation, Inc., The David Bermant Foundation: Color, Light, Motion, The Bohen Foundation, The Cowles Charitable Trust, Geraldine R. Dodge Foundation, Foundation for Contemporary Performance Arts, Inc., Horace w. Goldsmith Foundation, The Greenwall Foundation, Jerome Foundation, The J.M. Kaplan Fund, The Dorothea L. Leonhardt Foundation, Inc., The Joe and Emily Lowe Foundation, Inc., The Robert Mapplethorpe Foundation, The Menemsha Fund, Joyce Mertz-Gilmore Foundation, Betty Parsons Foundation, The Reed Foundation, Inc., The Rockefeller Foundation, The Mark Rothko Foundation, Inc., and The Andy Warhol Foundation for the Visual Arts, Inc.; American Express Company, The Chase Manhattan Bank, N.A., Consolidated Edison Company of New York, Inc., Equitable Real Estate Group, Inc., General Atlantic Corporation, R.H. Macy and Company, Inc., Morgan Guaranty Trust Company of New York, Philip Morris Companies Inc., and U.S. Trust Company of New York; as well as Artwatch, Galleries in Support of Artists Space, Members and numerous Friends.

Artists Space is a member of the National Association of Artists Organizations (NAAO) and the National Alliance of Media Arts Centers (NAMAC).

    A person holds a sign that reads
    Demonstrations outside Artists Space during the opening of Witnesses: Against Our Vanishing, November 16, 1989. [A person holds a sign that reads "KEEP ART FREE!" in handpainted text.]