Press Images: Brand New

Hirshhorn Plaza

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These images may be used by press in connection with the exhibition Brand New. Images may not be cropped, overlaid with type, or altered in any way. 

Krzysztof Wodiczko, “Hirshhorn Museum, Washington, DC,” 1988. Public projection at the Hirshhorn Museum, Washington, DC, October 25-27, 1988. Courtesy the artist and Galerie Lelong, New York.

Krzysztof Wodiczko, Hirshhorn Museum, Washington, DC, 1988. Public projection at the Hirshhorn Museum, Washington, DC, October 25-27, 1988. Courtesy the artist and Galerie Lelong, New York.

Krzysztof Wodiczko, Hirshhorn Museum, Washington, DC, 1988. Public projection at the Hirshhorn Museum, Washington, DC, February 13-15, 2018. Courtesy the artist and Galerie Lelong, New York. Photo: Joshua Jest

Krzysztof Wodiczko, Hirshhorn Museum, Washington, DC, 1988. Public projection at the Hirshhorn Museum, Washington, DC, February 13-15, 2018. Courtesy the artist and Galerie Lelong, New York. Photo: Joshua Jest

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Left to right: Ken Lum, Untitled Furniture Sculpture, 1980–; Sherrie Levine, Chair Seat: 5, 1986; Philip Taaffe, Undercurrent, 1984. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Left to right: Ken Lum, Untitled Furniture Sculpture, 1980–; Sherrie Levine, Chair Seat: 5, 1986; Philip Taaffe, Undercurrent, 1984. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Left to right: Peter Halley, Glowing and Burnt-Out Cells with Conduit, 1981; Joel Otterson, Devil/Jesus, 1986; B. Wurtz, Three Orange Mops, 1986. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Left to right: Peter Halley, Glowing and Burnt-Out Cells with Conduit, 1981; Joel Otterson, Devil/Jesus, 1986; B. Wurtz, Three Orange Mops, 1986. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Left to right: Gretchen Bender, Untitled (People with AIDS), 1986; Donald Moffett, He Kills Me, 1987; Jessica Diamond, T.V Telepathy (Black and White Version), 1989. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Left to right: Gretchen Bender, Untitled (People with AIDS), 1986; Donald Moffett, He Kills Me, 1987; Jessica Diamond, T.V. Telepathy (Black and White Version), 1989. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Left to right: Joan Wallace, The Pool Ladder Painting No 2, 2004; Jeff Koons, New! New Too!, 1983. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Left to right: Joan Wallace, The Pool Ladder Painting No 2, 2004; Jeff Koons, New! New Too!, 1983. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Left to right: Annette Lemieux, Courting Death, 1985; Louise Lawlor, Who Are You Close To? (Red), 1984/1990. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Left to right: Annette Lemieux, Courting Death, 1985; Louise Lawlor, Who Are You Close To? (Red), 1984/1990. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Left to right: Martha Rosler, Martha Rosler Reads “Vogue”, 1982; Barbara Kruger, Untitled (You Rule by Pathetic Display), 1982. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Left to right: Martha Rosler, Martha Rosler Reads “Vogue”, 1982; Barbara Kruger, Untitled (You Rule by Pathetic Display), 1982. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Gretchen Bender, Dumping Core, 1984. Photo: Cathy Carver.

Installation view of Brand New: Art and Commodity in the 1980s at the Hirshhorn Museum and Sculpture Garden, 2018. Gretchen Bender, Dumping Core, 1984. Photo: Cathy Carver.

Krzysztof Wodiczko, Homeless Vehicle in New York City, 1988-89. Color photographs; set of 6; each 11 x 17 in (27.94 x 43.18 cm). Hirshhorn Museum and Sculpture Garden, Washington DC, Smithsonian Institution. © Krzysztof Wodiczko. Courtesy Galerie Lelong & Co., New York

Krzysztof Wodiczko, Homeless Vehicle in New York City, 1988-89. Color photographs; set of 6; each 11 x 17 in (27.94 x 43.18 cm). Hirshhorn Museum and Sculpture Garden, Washington DC, Smithsonian Institution. © Krzysztof Wodiczko. Courtesy Galerie Lelong & Co., New York

ACT UP (Gran Fury), SILENCE = DEATH, 1987. Neon sign, two colors; 48 x 79 in (121.92 x 200.66 cm). Courtesy New Museum, New York. William Olander Memorial Fund

ACT UP (Gran Fury), SILENCE = DEATH, 1987. Neon sign, two colors; 48 x 79 in (121.92 x 200.66 cm). Courtesy New Museum, New York. William Olander Memorial Fund

Guerrilla Girls, These Galleries show no more than 10% women artists or none at all., 1984-85. Offset lithograph; each 11 x 17 in (27.94 x 43.18 cm). Hirshhorn Museum and Sculpture Garden, Washington DC, Smithsonian Institution. Photo by Cathy Carver

Guerrilla Girls, These Galleries show no more than 10% women artists or none at all., 1984-85. Offset lithograph; each 11 x 17 in (27.94 x 43.18 cm). Hirshhorn Museum and Sculpture Garden, Washington DC, Smithsonian Institution. Photo by Cathy Carver

Haim Steinbach, on vend du vent, 1988. Text in matte black latex paint, or vinyl letters applied onto the wall; dimensions variable. Courtesy the artist and Tanya Bonakdar Gallery, New York

Haim Steinbach, on vend du vent, 1988. Text in matte black latex paint, or vinyl letters applied onto the wall; dimensions variable. Courtesy the artist and Tanya Bonakdar Gallery, New York

Ken Lum. Untitled Sculpture, 1982. Couches, side tables, table lamps. Installation view Artists’ space. Photo by Neue Galerie Graz, Graz, Austria

Ken Lum. Untitled Sculpture, 1982. Couches, side tables, table lamps. Installation view Artists’ space. Photo by Neue Galerie Graz, Graz, Austria

Ken Lum, Alex Gonzalez Loves his Mother and Father, 1989. Chromogenic print on sintra, mounted on acrylic sheet with screen printed ink text; 46 x 80 x 2 1/6 in (116.5 x 203.3 x 5.5 cm). Courtesy the artist. Photo by Witte de with Center for Contemporary Art, Rotterdam

Ken Lum, Alex Gonzalez Loves his Mother and Father, 1989. Chromogenic print on sintra, mounted on acrylic sheet with screen printed ink text; 46 x 80 x 2 1/6 in (116.5 x 203.3 x 5.5 cm). Courtesy the artist. Photo by Witte de with Center for Contemporary Art, Rotterdam

Julia Wachtel, what, what, what, 1988. Oil, flashe, and lacquer ink on canvas; 52 x 111 in (132.08 x 281.94 cm). Courtesy the artist & Elizabeth Dee New York

Julia Wachtel, what, what, what, 1988. Oil, flashe, and lacquer ink on canvas; 52 x 111 in (132.08 x 281.94 cm). Courtesy the artist & Elizabeth Dee New York

Barbara Kruger, Untitled (I shop therefore I am), 1987. Photographic silkscreen on vinyl; 111 5/8 in x 113 1/4 in x 2 1/2 in (283.53 cm x 287.65 cm x 6.35 cm). Glenstone Museum, Potomac, Maryland. © Barbara Kruger. Courtesy Mary Boone Gallery, New York. Photo: Tim Nighswander/Imaging4Art.com

Barbara Kruger, Untitled (I shop therefore I am), 1987. Photographic silkscreen on vinyl; 111 5/8 in x 113 1/4 in x 2 1/2 in (283.53 cm x 287.65 cm x 6.35 cm). Glenstone Museum, Potomac, Maryland. © Barbara Kruger. Courtesy Mary Boone Gallery, New York. Photo: Tim Nighswander/Imaging4Art.com

Jessica Diamond, T.V. Telepathy (Black and White Version), 1989. Acrylic paint on wall; dimensions variable upon installation. Number 1 of an edition of 3. Courtesy the artist. © Jessica Diamond

Jessica Diamond, T.V. Telepathy (Black and White Version), 1989. Acrylic paint on wall; dimensions variable upon installation. Number 1 of an edition of 3. Courtesy the artist. © Jessica Diamond

GENERAL IDEA, The Boutique of the 1984 Miss General Idea Pavillion, 1980. Galvanized metal and plexiglass, prints, posters, publications; overall (installed): 60 1/4 x 131 7/8 x 102 3/8 in. (153 x 335 x 260 cm). Collection Art Gallery of Ontario, Toronto. Gift of Sandra Simpson, 1998. Courtesy Esther Schipper, Berlin

GENERAL IDEA, The Boutique of the 1984 Miss General Idea Pavillion, 1980. Galvanized metal and plexiglass, prints, posters, publications; overall (installed): 60 1/4 x 131 7/8 x 102 3/8 in. (153 x 335 x 260 cm). Collection Art Gallery of Ontario, Toronto. Gift of Sandra Simpson, 1998. Courtesy Esther Schipper, Berlin

Matt Mullican, Untitled (Death), 1980. Lead paint on paper mounted on canvas; 60 x 42 in (152.5 x 106.7 cm). Courtesy of the artist, Mai 36 Galerie, Zurich and Peter Freeman, Inc.

Matt Mullican, Untitled (Death), 1980. Lead paint on paper mounted on canvas; 60 x 42 in (152.5 x 106.7 cm). Courtesy of the artist, Mai 36 Galerie, Zurich and Peter Freeman, Inc.

Cindy Sherman, Untitled #121, 1983. C-print; 40 x 27 1/2 in (101.5 x 69.8 cm). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Smithsonian Institution. Gift of Dr. William H. Goldiner, 1998. Photo by Lee Stalsworth.

Cindy Sherman, Untitled #121, 1983. C-print; 40 x 27 1/2 in (101.5 x 69.8 cm). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Smithsonian Institution. Gift of Dr. William H. Goldiner, 1998. Photo by Lee Stalsworth.

Sarah Charlesworth, Golden Boy, 1983-84. Cibachrome with lacquered wood frame; 42 x 32 in (106.68 x 81.28 cm). Courtesy of the Estate of Sarah Charlesworth and Maccarone, NY/LA

Sarah Charlesworth, Golden Boy, 1983-84. Cibachrome with lacquered wood frame; 42 x 32 in (106.68 x 81.28 cm). Courtesy of the Estate of Sarah Charlesworth and Maccarone, NY/LA

David Wojnarowicz, USDA Choice Beef, 1985. Acrylic on found supermarket poster; 42 x 31 1/2 in (106.68 x 80.01 cm). Courtesy the Estate of David Wojnarowicz and P•P•O•W, New York. ©The Estate of David Wojnarowicz

David Wojnarowicz, USDA Choice Beef, 1985. Acrylic on found supermarket poster; 42 x 31 1/2 in (106.68 x 80.01 cm). Courtesy the Estate of David Wojnarowicz and P•P•O•W, New York. ©The Estate of David Wojnarowicz

John Dogg, John, Not Johnny, 1987. Painted stainless steel cover; 29 x 29 in (73.66 x 73.66 cm). Collection of Adam Lindemann. Courtesy Venus over Manhattan

John Dogg, John, Not Johnny, 1987. Painted stainless steel cover; 29 x 29 in (73.66 x 73.66 cm). Collection of Adam Lindemann. Courtesy Venus over Manhattan

Ashley Bickerton, Tormented Self-Portrait (Susie at Arles) No. 2, 1988. Mixed media; 90 x 68 1/2 x 20 in (121.92 x 243.84 cm). Des Moines Art Center Permanent Collections; Purchased with funds from the Edmundson Art Foundation, Inc., 1994.334. Courtesy the artist and Lehmann Maupin, New York and Hong Kong

Ashley Bickerton, Tormented Self-Portrait (Susie at Arles) No. 2, 1988. Mixed media; 90 x 68 1/2 x 20 in (121.92 x 243.84 cm). Des Moines Art Center Permanent Collections; Purchased with funds from the Edmundson Art Foundation, Inc., 1994.334. Courtesy the artist and Lehmann Maupin, New York and Hong Kong

Alan Belcher, $51.49, 1983. Dye transfers on bottles of Solo fabric softener; each 8.75 x 3.75 x 1.875 in (22.22 x 9.52 x 4.76 cm) / 16 ounces. Courtesy Alan Belcher

Alan Belcher, $51.49 (detail), 1983. Dye transfers on bottles of Solo fabric softener; each 8.75 x 3.75 x 1.875 in (22.22 x 9.52 x 4.76 cm) / 16 ounces. Courtesy Alan Belcher

Alan Belcher, $51.49, 1983. Dye transfers on bottles of Solo fabric softener; each 8.75 x 3.75 x 1.875 in (22.22 x 9.52 x 4.76 cm) / 16 ounces. Courtesy Alan Belcher

Alan Belcher, $51.49 (detail), 1983. Dye transfers on bottles of Solo fabric softener; each 8.75 x 3.75 x 1.875 in (22.22 x 9.52 x 4.76 cm) / 16 ounces. Courtesy Alan Belcher

Alan Belcher, $51.49, 1983. Dye transfers on bottles of Solo fabric softener; each 8.75 x 3.75 x 1.875 in (22.22 x 9.52 x 4.76 cm) / 16 ounces. Courtesy Alan Belcher

Alan Belcher, $51.49 (detail), 1983. Dye transfers on bottles of Solo fabric softener; each 8.75 x 3.75 x 1.875 in (22.22 x 9.52 x 4.76 cm) / 16 ounces. Courtesy Alan Belcher

Donald Moffett, He Kills Me, 1987. Offset lithograph; 23.5 x 37.5 in (59.7 x 69.9 cm. International Center of Photography,Purchase, with funds provided by the ICP Acquisitions Committee, 2000. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Donald Moffett

Donald Moffett, He Kills Me (detail), 1987. Offset lithograph; 23.5 x 37.5 in (59.7 x 69.9 cm. International Center of Photography,Purchase, with funds provided by the ICP Acquisitions Committee, 2000. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Donald Moffett

Jeff Koons, New! New Too!, 1983. Lithograph billboard mounted on cotton; 123 x 272 in (312.4 x 690.9 cm). © Jeff Koons

Jeff Koons, New! New Too!, 1983. Lithograph billboard mounted on cotton; 123 x 272 in (312.4 x 690.9 cm). © Jeff Koons

Erika Rothenberg, Freedom of Expression Drugs, 1989. Collection of the artist

Erika Rothenberg, Freedom of Expression Drugs, 1989. Collection of the artist

Haim Steinbach, Shelf with Ajax, 1981.Wood and plastic shelf; Ajax cleanser can; 22 x 14 x 14 in (55.9 x 35.6 x 35.6 cm). Courtesy of the artist and Tanya Bonakdar Gallery, New York

Haim Steinbach, Shelf with Ajax, 1981.Wood and plastic shelf; Ajax cleanser can; 22 x 14 x 14 in (55.9 x 35.6 x 35.6 cm). Courtesy of the artist and Tanya Bonakdar Gallery, New York