Artists Space

Artists Space Annual Edition Portfolio 2017

A woman dressed in black uses both hands to hold her phone to an ear while looking off to the right. A product scanner in the foreground suggests a retail setting.
Michele Abeles, 5507, 2016, Digital C print
, 18 x 12 in / 45,7 x 30,5 cm
, Signed and Numbered. [A woman dressed in black uses both hands to hold her phone to an ear while looking off to the right. A product scanner in the foreground suggests a retail setting.]

Michele Abeles (b.1977) lives and works in Brooklyn. Recent solo exhibitions include ZEBRA, 47 Canal, New York (2016); Whitney Museum of American Art, New York (2015); Find Out What Happens When People Start Getting Real, Sadie Coles, London (2014); and English for Secretaries, 47 Canal, New York (2013). Selected recent group exhibitions include Her Wherever, Halsey McKay Gallery, East Hampton, New York (2016); America Is Hard to See, Whitney Museum of American Art, New York, Second Chances, Denver, CO, Duddell’s Presents: ICA Off-Site: Hong Kongese, ICA, London (2015); Rites of Spring, Contemporary Arts Museum Houston, TX and A World of its Own: Photographic Practices in the Studio, Museum of Modern Art, New York (2014)

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.
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.]

Caitlin Keogh (b. 1982) lives and works in Brooklyn. Recent solo exhibitions include Loose Ankles, Bortolami, New York (2016), Fragment From Botticelli’s Primavera Allegory, Lisa Cooley Gallery at Maryam Nassir Zadeh, New York (2015), The Corps, Mary Boone Gallery, New York (2015), The Natural World, Melas Papadopoulos, Athens (2013), Modes, Leslie/Fritz Gallery, New York (2013), and Good Value, Fine Quality, MoMA PS1, New York (2012). Selected recent group exhibitions include Flatlands, Whitney Museum of American Art, New York (2016), The Hole, Künstlerhaus Bremen, Germany (2016), the Artist-in-residence Biennial, Ewing Gallery, University of Tennessee (2016), Wight Biennial 2010: Another Romance, Wight Gallery at UCLA, CA, and 179 Canal Anyway at White Columns, New York (2010).

A composition of four images, showing two detail views of a black and white painting, and two installation views of a white-walled gallery.
Richard Aldrich, Big, Small, 2016, 
Inkjet print, 
17 x 11 in
/ 43,2 x 28 cm, 
Signed and Numbered. [A composition of four images, showing two detail views of a black and white painting, and two installation views of a white-walled gallery.]

Richard Aldrich (b. 1975) lives and works in Brooklyn. Recent solo exhibitions include Museum Dhondt-Dhaenens, Belgium (2016), Gladstone Gallery, New York (2016); Ten Years of Richard Aldrich from the Collection of Bob Nickas at White Columns, New York (2015); dépendance, Belgium and Gladstone Gallery, Belgium (2014). Selected recent group exhibitions include The Radiants, Bortolami x Green Tea Gallery, New York (2015); New Acquisitions, The Whitworth, Manchester, UK; The Forever Now: Contemporary Painting in an Atemporal World, Museum of Modern Art, New York, Abstract Possibilities 2, Bjorkholmen Gallery, Stockholm, Sweden and Roving Signs, Matthew Marks, New York (2014).

An imprint of pink pursed lips on off-white ground.
Maggie Lee, 100 Kisses for Artists Space, 2016, Lipstick on paper, each unique 10 x 8 ½ in / 25,4 x 21,6 cm, Signed and Numbered. [An imprint of pink pursed lips on off-white ground.]

Maggie Lee (b. 1987) lives and works in New York. Her feature film Mommy (2015) premiered at Anthology Film Archives and was screened at the Whitney Museum of American Art. Recent solo and group exhibitions include Gigi’s Underground, 356 Mission, Los Angeles (2016); Mirror Cells, Whitney Museum of American Art, New York (2016; Fufu’s Dreamhouse, Real Fine Arts, New York (2016) and Lonely Girl, Martos Gallery, New York (2013).

A scan of printed text. The legible portion reads "Upon the frontier of unimaged night"
Susan Howe, From DEBTHS, 2016, Silkscreen on archival box, 24 ¼ 20 ½ x 1 ½ in / 62,2 x 52 x 3,8 cm, Signed and Numbered Certificate [A scan of printed text. The legible portion reads "Upon the frontier of unimaged night"]

Susan Howe (b. 1937) lives and works in Connecticut. Her first solo exhibition, Tom Tit Tot at Yale Union, OR (2013) showcased visual and performative aspects of her writing. Howe is the author of books of poetry including Pierce-Arrow (1999), The Midnight (2003), and Souls of the Labadie Tract (2007), the award winning essay collection The Birth-Mark: Unsettling the Wilderness in American Literary History (1993), and two sound and performance pieces, Frolic Architecture (2011) and Woodslippercounterclatter (2014), with musician David Grubbs. Howe has been published in Times Literary Supplement, American Book Review, Voice Literary Supplement, The Boston Review, Publisher’s Weekly, Choice Magazine, American Poetry Review, Parnassus, Multicultural Review, and The Georgia Review. DEBTHS, a series of poems, will be published by New Directions in 2017.