Luhring Augustine
JANINE ANTONI, CHARLES ATLAS, PIPILOTTI RIST, RACHEL WHITEREAD, CHRISTOPHER WOOL et al.: Luhring Augustine — Artist Representation Card, New York, c. 2015–16
JANINE ANTONI, CHARLES ATLAS, PIPILOTTI RIST, RACHEL WHITEREAD, CHRISTOPHER WOOL et al.: Luhring Augustine — Artist Representation Card, New York, c. 2015–16
- Artist
- Janine Antoni · Charles Atlas · Janet Cardiff · George Bures Miller · Larry Clark · William Daniels · Jeff Elrod · Tom Friedman · Roger Hiorns · Johannes Kahrs · Glenn Ligon · Reinhard Mucha · David Musgrave · Michelangelo Pistoletto · Pipilotti Rist · Josh Smith · Joel Sternfeld · Philip Taaffe · Tunga · Rachel Whiteread · Steve Wolfe · Christopher Wool · Zarina
- Issued by
- Luhring Augustine
- Place & year
- New York, c. 2015–16
- Type
- Invitation
- Format
- Offset-printed card on cream uncoated stock; artist roster and gallery details to recto, blank verso
- Size
- 13.5 × 19.5 cm
- Condition
- Good; light handling and surface wear, faint age toning and minor edge softening; a light linear impression is visible toward the lower left of the blank verso.
- Register
- TNR-2026-0480 · 30 July 2026
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Notes
Luhring Augustine, 531 West 24th Street, New York, undated, c. 2015–16.
An undated representation card preserving twenty-eight entries within the Luhring Augustine programme. The roster moves between performance and the body through Janine Antoni and Charles Atlas; film, sound and installation through Janet Cardiff and George Bures Miller, Ragnar Kjartansson, Jason Moran, Pipilotti Rist and Guido van der Werve; and photography through Larry Clark, Luisa Lambri, Yasumasa Morimura, Daido Moriyama and Joel Sternfeld.
Painting and object-based practices appear through William Daniels, Jeff Elrod, Tom Friedman, Roger Hiorns, Johannes Kahrs, Reinhard Mucha, David Musgrave, Michelangelo Pistoletto, Josh Smith, Philip Taaffe and Rachel Whiteread, alongside the materially and politically distinct positions of Glenn Ligon, Tunga, Steve Wolfe, Christopher Wool and Zarina.
Likely produced around 2015–16, the card does not promote an individual exhibition. It presents the gallery programme itself as a collective identity. Small grey typography is distributed across cream stock, while the reverse remains almost entirely blank. The list becomes the image.
Several artists remain central to Luhring Augustine today; others have moved into different categories of association or disappeared from its public roster. The card therefore records representation as temporary information: a set of relationships fixed briefly in print.
A printed inventory of affiliations. The artists remain unchanged. Their placement does not.
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