Several handwritten gold post-it notes are arranged loosely on a white wall, each bearing short phrases such as “Naturally dumb, artificially intelligent” and “If I agreed with you we would both be wrong.” The modest paper squares transform everyday office notes into sharp, ironic reflections on technology, ego and human fallibility.

Brute Force at THIRTY8EAST Reconsiders the Myth of the Male Artist

Words by Eric David

New York, USA

Ambition has long shaped the mythology of modern art. Rivalries, egos, obsessions and restless experimentation have often propelled artistic innovation forward, forging new visual languages while also cultivating enduring myths about the figure of the artist himself. “Brute Force”, an exhibition at THIRTY8EAST in New York curated by Ashlee Harrison, revisits this complex narrative by examining the competitive drive and audacity historically associated with male artistic ambition.

At the centre of the exhibition is the multidisciplinary practice of Chilean artist and designer Sebastián Errázuriz. Spanning sculpture, design, architecture and technology, his work embodies the exhibition’s interest in creative ambition that refuses disciplinary boundaries. Around his works, Harrison constructs a dialogue that includes pieces by artists such as Andy Warhol, Richard Prince, Maurizio Cattelan, René Magritte, and Fernando and Humberto Campana, among others. The result is a salon-style constellation in which art and collectible design blur into one another, suggesting that creative inquiry rarely conforms to rigid conceptual categories.

Resting on the cobalt tabletop, a porcelain bowl cradles the sculpted head of a classical figure, its smooth matte surface recalling ancient statuary. The stark white form contrasts sharply with the saturated blue plane beneath, transforming a familiar historical motif into a quietly surreal contemporary object.

Sebastian Errazuriz, Narcissus Bowl, 2020. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

A closer view reveals the cobalt table’s organic, branch-like base contrasting with its smooth, elliptical top. Mirrored chairs catch the warm reflections of the herringbone parquet floor, while a pedestal-mounted ceramic vessel and delicate wall sculpture hover against the white architectural backdrop, emphasising the exhibition’s interplay between sculptural furniture and contemporary art.

Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

A framed orange text piece becomes the focal point of the room, its reflective surface capturing subtle silhouettes from the space. Positioned opposite a sculptural cobalt table and minimalist chairs, the work punctuates the calm white interior with a sharp conceptual presence, drawing attention to language, reflection, and spatial dialogue.

Painting by Richard Prince. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

A minimalist blue monochrome artwork with a small handwritten note reading “Eat the Rich!” sits within a clear acrylic frame against a white wall. Its saturated field of colour contrasts sharply with the restrained architecture of the townhouse interior, transforming a simple gesture of text into a quietly provocative conceptual statement.

Sebastian Errazuriz, "Eat the rich” Post-It, 2025. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

Housed within a historic Upper East Side brownstone, THIRTY8EAST’s domestic setting plays a crucial role in amplifying this cross-disciplinary conversation. Staged within the layered interiors of the townhouse, the experience feels more like visiting a collector’s home than a white-cube gallery. In this context, the boundaries between art and collectible design are intentionally blurred, encouraging viewers to read the pieces relationally, as part of an unfolding dialogue between objects, ideas and eras.

  • Within the townhouse interior, a vivid cobalt table with sculptural, branch-like legs contrasts with polished parquet flooring and mirrored chairs. Above the mantel, a fluid, chrome-like mirror sculpture reflects the room’s soft daylight, while a small monochrome blue artwork punctuates the white wall, reinforcing the exhibition’s interplay between reflective surfaces, sculptural furniture and contemporary art.

    Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • A detail of the cobalt dining table reveals its organic, branch-like legs, sculpted to resemble natural limbs supporting a sleek elliptical top. The deep blue finish contrasts with the warm tones of the polished parquet floor, while a translucent chair nearby introduces a subtle play of reflection and material contrast.

    Wonky Dining Table by Matthew Day Jackson. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • Displayed on a white pedestal, a vividly glazed ceramic vessel by Roger Herman unfolds like a painterly landscape in miniature. Layers of saturated yellow, green, and earthy tones drip and pool across its irregular surface, giving the sculptural form a visceral, expressive presence against the gallery’s restrained architectural backdrop

    Roger Herman, Untitled 16 (Yellow, Green, Blue), 2012. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • Inside THIRTY8EAST’s Upper East Side brownstone, a sculptural cobalt-blue table with branch-like legs anchors a room of polished parquet floors and crisp white mouldings. Chrome chairs encircle the table beneath a textured black pendant light, while a reflective mirror and ceramic vessel punctuate the fireplace mantel, framing the exhibition’s dialogue between art and collectible design.

    Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

Rick Owens’s Stag Stool pairs a sharply angled, dark wood seat with a single sculptural antler rising dramatically from its surface. Positioned on a white plinth beside a tall window, the piece combines primitive symbolism with refined craftsmanship, evoking the designer’s signature tension between ritual object and functional furniture.

Rick Owens, Stag Stool, 2024. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

Within the townhouse’s refined salon, Errázuriz’s exuberant chandelier hangs above polished parquet floors and ornate plasterwork. Nearby, a classical fireplace and mirror frame the room’s layered composition, where sculptural furniture and contemporary artworks coexist, reinforcing the exhibition’s dialogue between historical architecture and experimental design.

Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

Suspended within an ornate white mirror frame above the fireplace, Errázuriz’s chandelier appears reflected in the glass, doubling its swarm of colourful birds and butterflies. Below, a gilded sculptural tableau sits before a desert landscape photograph, creating a layered dialogue between reflection, narrative imagery and historical ornament.

Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

One of the exhibition’s most compelling exchanges takes place around Richard Prince’s “Untitled (Cowboy)” (1997), the artist’s iconic re-photographed image of a cowboy derived from the Marlboro advertisements. In an exploration of the constructed nature of cultural mythmaking, Prince’s cowboy converses with Errázuriz’s “Battle of the Corporate Nations” (2025), placed atop a mantelpiece across the room. Cast in gilded bronze, the equestrian sculpture satirically imagines contemporary tech billionaires as duelling riders. Positioned in front of a mirror that reflects Prince’s photograph, the installation creates a sly visual narrative: the Marlboro cowboy appears almost to flee the chaotic clash of today’s oligarchic titans, linking mythic frontiers of masculinity with the power struggles of the digital age.

  • A tighter view centres the fireplace mantel composition: a gilded figurative sculpture staged before a cinematic photograph of a rider crossing a desert landscape. Above, the mirrored reflection of Errázuriz’s chandelier scatters tiny birds and butterflies across the glass, weaving together spectacle, mythology and interior architecture.

    Sebastián Errázuriz, Battle of the Corporate Nations (detail), 2025. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • Sebastián Errázuriz’s Battle of the Corporate Nations depicts a gilded equestrian figure riding through a dramatic tableau of fallen bodies and scattered blocks. Echoing the grand language of historical monuments, the sculpture recasts contemporary power struggles as a theatrical bronze spectacle staged within the refined interior.

    Sebastián Errázuriz, Battle of the Corporate Nations (detail), 2025. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • A detail of Errázuriz’s gilded sculpture Battle of the Corporate Nations reveals muscular bronze figures locked in dramatic poses, their exaggerated gestures evoking the theatrics of classical monuments. The warm metallic surface catches soft daylight, highlighting the intricate modelling and satirical reinterpretation of heroic sculptural traditions.

    Sebastián Errázuriz, Battle of the Corporate Nations (detail), 2025. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • Richard Prince’s Untitled (Cowboy) anchors a quiet salon where art and collectible design intermingle. To the left, a sculptural rust-toned metal bench with an elliptical backrest sits against the wall, while a polished coffee table on a white plinth reflects the warm parquet flooring.

    Richard Prince, Untitled (Cowboy), 1997. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

Richard Prince’s Untitled (Cowboy) anchors a quiet salon where art and collectible design intermingle. To the left, a sculptural rust-toned metal bench with an elliptical backrest sits against the wall, while a polished coffee table on a white plinth reflects the warm parquet flooring.

Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

In the same room, B. G. Robinson’s “Satyr Coffee Table” anchors the scene with sculptural precision, its silvered aluminium legs flaring like hooves beneath a phenolic resin top. Nearby, Fernando and Humberto Campana’s “Flintstone Bench” (1989), cut and welded from raw iron sheets, introduces a raw, improvised language of form. Its abstract geometry evokes the silhouette of a horse, while its seemingly precarious construction suggests tension and vulnerability—the series is shaped by personal experience, including Humberto Campana’s near-drowning in the Colorado River—further complicating the heroic tropes traditionally associated with masculine archetypes.

Detail of a sculptural coffee table reveals softly curved metallic legs supporting a smooth reddish-brown tabletop. Resting on a white circular plinth, the piece combines organic form with polished metal surfaces, echoing the exhibition’s interest in collectible design that blurs the boundary between functional furniture and sculpture.

B G Robinson, Satyr Coffee Table, 2025. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

A sculptural rust-toned metal bench with an asymmetrical silhouette combines an oval backrest, slender metal legs and a tapered support. The patinated surface echoes the warm tones of the parquet floor, while a series of small handwritten notes pinned to the wall above introduce a quiet conceptual counterpoint.

Fernando and Humberto Campana, Flintstone Bench, 1989. Sebastian Errazuriz. Gold Post-it, 2025. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

A classical marble figure stands enclosed within a tall, rust-toned metal bookshelf composed of intersecting horizontal and vertical rods. Books appear suspended within the grid-like structure, while soft daylight from the nearby window silhouettes the statue, merging sculpture, architecture and furniture into a striking hybrid installation.

Sebastian Errazuriz, Antiquity Venus D’Arles, 2018. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

A closer view reveals the marble figure framed by the open lattice of the sculptural bookshelf. Leather-bound volumes and art books rest on slender metal supports, while the warm reddish framework contrasts with the smooth white marble, creating a layered composition where classical form is literally encased within contemporary structure.

Sebastian Errazuriz, Antiquity Venus D’Arles, 2018. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

Elsewhere, Errázuriz’s “Fallen Bench” (2022) is paired with Andy Warhol’s “Electric Chair” as two distinct meditations on authority and violence. Confronting the fate of contested historical symbols, Errázuriz’s sculptural bench incorporates a marble copy of a toppled statue of Confederate general Robert E. Lee. Laid horizontally, the fallen figure transforms a once-elevated monument into an object of rest and contemplation. Together with Warhol’s stark image of state-sanctioned execution, Errázuriz’s reconfigured monument probes the fragile architectures through which power is expressed and remembered.

  • Sebastián Errázuriz’s Fallen Bench (2022) occupies the centre of a sunlit salon within THIRTY8EAST’s Upper East Side townhouse. A marble figure of Confederate general Robert E. Lee lies horizontally beneath a dark wooden bench seat, transforming a toppled monument into furniture. Above the fireplace, Andy Warhol’s stark red Electric Chair punctuates the otherwise restrained white interior.

    Andy Warhol, Electric Chair, 1963. Sebastián Errázuriz, Fallen Bench. 2022. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • Andy Warhol’s Electric Chair appears in stark red and black against a white wall, its high-contrast image depicting the empty execution chamber chair beneath harsh overhead lighting. The graphic composition amplifies the unsettling stillness of the scene, transforming a moment of institutional violence into a haunting, iconic visual statement.

    Andy Warhol, Electric Chair, 1963. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

A frontal view of Sebastián Errázuriz’s Fallen Bench (2022) reveals the classical marble figure of Robert E. Lee supporting a minimalist bench plank. Set against a white fireplace and herringbone parquet floor, the piece merges sculpture and furniture, quietly reframing a contested historical monument within the domestic scale of the townhouse gallery.

Andy Warhol, Electric Chair, 1963. Sebastián Errázuriz, Fallen Bench. 2022. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

In a bright gallery corner, Harry Nuriev’s Trash Bag Sofa clusters on the floor beside a red jerry can displayed on a white plinth. Nearby wall works include a gestural painting of a masked figure and a bold text piece reading “I’M SO ANGRY I MADE A SIGN,” creating a charged, satirical tableau.

Sebastian Errazuriz, I’m So Angry I Made This Sign (Occupy Chair series), 2012. Adam McEwen, Jerrycan (Gasoline), 2008. Harry Nuriev, Trash Bag Chair, 2022. Ross Bleckner, Men in Masks. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • A bright red jerry can sits alone on a white plinth, its glossy metal surface catching soft daylight from the nearby window. The utilitarian object’s sculptural geometry—embossed cross-bracing, curved handles and sealed cap—contrasts with the refined parquet flooring and crisp white walls, transforming a symbol of fuel and mobility into a quietly charged gallery object.

    Adam McEwen, Jerrycan (Gasoline), 2008. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • A graphic text work reads “I’M SO ANGRY I MADE A SIGN,” its bold black lettering arranged across a vertically segmented white panel. The stark typographic statement punctures the otherwise calm gallery wall, introducing a note of ironic protest within the exhibition’s broader reflections on ego, authority and cultural mythmaking.

    Sebastian Errazuriz, I’m So Angry I Made This Sign (Occupy Chair series), 2012. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • A framed painting depicting a stern figure wearing dark sunglasses is rendered in loose, expressive brushstrokes of sepia and black. The bold text “Feel the power of arrogance” punctuates the composition, merging portraiture and slogan into a provocative commentary on authority, ego and cultural mythmaking.

    Andreas Leikauf, Feel the Power of Arrogance, 2002. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

A sculptural wall console shaped like a branching tree limb supports a slim black shelf, its dark, textured surface contrasting with the crisp white wall behind. The organic form introduces a tactile, almost arboreal presence within the refined townhouse interior, blurring the boundary between natural motif and functional design object.

Sebastián Errázuriz, Metamorphosis Shelf (detail). Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

A closer view of the salon reveals a sculptural wall console shaped like a branching tree limb supporting a minimalist black shelf. Above it, a portrait-style artwork reading “Feel the power of arrogance” punctuates the otherwise restrained white wall, juxtaposing organic form, sharp text and classical interior detailing.

Andreas Leikauf, Feel the Power of Arrogance, 2002. Sebastián Errázuriz, Metamorphosis Shelf. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

Throughout the exhibition, Errázuriz’s irreverent humour also surfaces in works that echo the mischievous provocations of artists such as Marcel Duchamp and Maurizio Cattelan. His “Gold Post-it” sculptures transform an ephemeral office note into a permanent 24-karat-gold object, while the “Chicken Lamp”, fashioned from a taxidermy bird, and “Lobster Salad”, a playful riff on Salvador Dalí’s famous lobster telephone that swaps Dalí’s crustacean for a rubber penis, reveal a tongue-in-cheek approach to value, symbolism and artistic authorship.

Other highlights reinforce the exhibition’s exploration of tension between discipline and excess. Errázuriz’s “Spring Shit Show”, a crystal chandelier overrun by resin birds, butterflies and dragonflies, appears almost alive, its exuberant swarm disrupting the fixture’s formal symmetry, while his “High Cabinet” functions as a “theatre of mirrors”, featuring an illuminated interior that multiplies any object placed inside into a kaleidoscopic field of endless reflections.

  • Several handwritten gold post-it notes are arranged loosely on a white wall, each bearing short phrases such as “Naturally dumb, artificially intelligent” and “If I agreed with you we would both be wrong.” The modest paper squares transform everyday office notes into sharp, ironic reflections on technology, ego and human fallibility.

    Sebastian Errazuriz. Gold Post-it, 2025. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • Encased in a clear acrylic vitrine, a surreal reinterpretation of Salvador Dalí’s iconic lobster telephone replaces the crustacean with a flesh-toned phallic form resting atop a vintage black rotary phone. The provocative object blends humour and shock, echoing the exhibition’s playful interrogation of symbolism and artistic authorship.

    Sebastian Errazuriz, Lobster Salad, 2015. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • A close-up of the Chicken Lamp reveals the soft texture of pale feathers contrasting with the bird’s delicate orange legs and the exposed filament bulb perched above. The unexpected combination of taxidermy and lighting design transforms a familiar animal form into a playful, slightly absurd sculptural object.

    Sebastián Errázuriz, Chicken Lamp. 2014. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • A restrained white composition centres a yellow post-it note bearing the handwritten phrase “Naturally dumb / artificially intelligent.” Mounted within a transparent acrylic frame, the work floats against the gallery wall, its understated minimalism amplifying the sharp irony of the message.

    Sebastian Errazuriz, "Naturally Dumb” Post-It, 2025.Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • A close-up of Sebastián Errázuriz’s Spring Shit Show chandelier reveals a delicate network of crystal strands interspersed with small sculpted birds and butterflies. Suspended among faceted glass drops, the colourful figures animate the ornate fixture, transforming a traditional crystal chandelier into a whimsical ecosystem of movement, sparkle and playful visual disruption.

    Sebastián Errázuriz, Spring Shit Show (detail), 2021 Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • Sebastián Errázuriz’s Spring Shit Show chandelier transforms a traditional crystal fixture into a vibrant swarm of colour, as delicate glass strands mingle with suspended birds, butterflies and dragonflies. Radiating outward on fine wires, the miniature creatures animate the air around the chandelier, turning the ceiling into a whimsical constellation of movement and light.

    Sebastián Errázuriz, Spring Shit Show, 2021. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • Crystal prisms cascade around a vivid red bird perched within Sebastián Errázuriz’s exuberant chandelier. The intricate strands of faceted glass refract warm light, while the unexpected presence of small painted creatures disrupts the fixture’s formal symmetry, creating a dynamic interplay between classical ornament and surreal intervention.

    Sebastián Errázuriz, Spring Shit Show (detail), 2021. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

A crystal decanter filled with ruby-toned liquid rests on a transparent shelf inside the mirrored cabinet. Surrounding triangular mirror panels fracture the reflections into countless angular facets, turning the simple still-life arrangement into a prismatic composition of light, glass and shifting reflections.

Sebastian Errazuriz, High Cabinet (Reflection Collection), 2020. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

A mirrored cabinet unfolds like a faceted screen beside a tall window overlooking autumn foliage. Its angular reflective panels multiply the surrounding architecture and warm daylight, while crystal decanters displayed inside appear suspended within a kaleidoscopic interior, blurring the boundaries between functional furniture, sculpture and optical illusion.

Sebastian Errazuriz, High Cabinet (Reflection Collection), 2020. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

A wider view of the salon reveals a glowing neon sign reading “LOVED YOU” mounted above a classical fireplace with green-tiled surround. Built-in white bookshelves display art publications and objects, while a mirrored cabinet and lounge chair sit by the tall window, merging domestic intimacy with exhibition staging.

Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • The neon artwork “LOVED YOU” casts a warm pink glow above the white fireplace mantel, its soft illumination contrasting with the crisp architectural mouldings and green-tiled hearth below. Flanked by built-in bookshelves filled with art books and small objects, the installation introduces a quietly emotional note within the refined interior.

    Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • A section of built-in white bookshelves displays a curated mix of art books, photographs and small objects. Graphic covers, including Cy Twombly and Toiletpaper, punctuate the crisp shelving, while a classical plaster head and framed imagery create a layered still-life that echoes the exhibition’s salon-like dialogue between contemporary culture and art history.

    Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • A slender mirrored bookshelf stands beside a tall window overlooking brick façades, its reflective surfaces multiplying the spines of art books within. The sculptural form subtly distorts the surrounding architecture, while nearby contemporary artworks and seating pieces reinforce the exhibition’s seamless integration of design objects and fine art.

    Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

Reflection is also employed by Maurizio Cattelan in “Sunday” (2024), though to a far more unsettling effect: the artwork consists of a 24-karat gold plate pierced by bullet holes. Part of a larger installation first presented in 2024 at the Gagosian Gallery, the gleaming surface transforms the violence of gunfire into a disturbing yet seductive image, confronting viewers with the uneasy intersection of beauty and brutality.

Ultimately, “Brute Force” does not seek to romanticise the archetype of the driven male artist, nor to dismiss it outright. Instead, the exhibition isolates a restless force, oftentimes competitive, always unruly and sometimes destructive, and examines how it has shaped artistic production across generations. Set within the intimate domesticity of THIRTY8EAST’s townhouse setting, these works reveal ambition not as a singular narrative but as a complex energy that continues to reverberate through contemporary art and design.

Mounted on a white wall, Maurizio Cattelan’s Sunday (2024) appears as a reflective gold-toned panel punctured with bullet-like impressions. The cratered surface scatters light across the room, while a sculptural bench below anchors the composition, juxtaposing polished metal, soft upholstery and the quiet gravity of the artwork

Maurizio Cattelan, Sunday, 2024 (Courtesy Gagosian Gallery). B G Robinson, Tabouret, 2025. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

A sunlit salon within the THIRTY8EAST townhouse pairs sculptural seating and polished metal furniture with contemporary artworks. Warm daylight filters through tall windows, illuminating a reflective coffee table, a curving chaise-like sofa, and a golden-toned wall piece punctuated by crater-like impressions, creating a layered dialogue between art, design and domestic space.

Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • A low, mirror-polished metal coffee table reflects the honey-toned parquet floor and filtered daylight from nearby windows. Two monographs titled Art and Design rest on its surface, their graphic covers reinforcing the exhibition’s conceptual thread while the reflective finish subtly multiplies surrounding forms and architectural details.

    Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • A close-up view of a sculptural stool reveals softly curved cream upholstery resting on gleaming metal legs that arc elegantly across the polished parquet floor. The tactile fabric surface contrasts with the reflective metal frame, highlighting the exhibition’s attention to material nuance and the blurred boundary between functional furniture and collectible design.

    B G Robinson, Tabouret, 2025. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • A sculptural armchair pairs a polished brass shell with ribbed bronze-toned upholstery and a matching cushion, its reflective metal surface softly distorting the surrounding architecture. Resting on slender acrylic legs above warm parquet flooring, the piece juxtaposes industrial sheen and tactile textile, embodying the exhibition’s dialogue between collectible design, material experimentation and domestic context.

    Philippe Hiquily, Coque Armchair, 1975. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • A close-up reveals the finely stepped edges of Sebastián Errázuriz’s bronze panel, where concentric layers of polished metal create a subtle topography. The warm reflective surface bends light and surrounding forms, emphasising the work’s material precision and its interplay between sculpture, mirror and architectural ornament.

    Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

  • Seen in profile, a reflective bronze panel leans slightly against the wall above the mantel, revealing its sculpted depth and softly tiered contours. The burnished surface captures distorted reflections of the room, blurring the boundary between artwork, mirror and architectural element.

    Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

Encased in a clear acrylic frame, a vivid red monochrome panel is punctuated by a small handwritten note reading “Remember Remember Remember Remember Remember!” The stark composition pairs saturated colour with a minimal gesture of text, transforming a simple post-it into a quietly provocative conceptual statement.

Sebastian Errazuriz, "Remember” Post-It, 2025. Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

A wider view of the room reveals Richard Prince’s desert cowboy photograph overlooking a sculptural seating piece in oxidised metal. Nearby, a low coffee table with curved metallic legs rests on a white platform, creating a dialogue between rugged imagery of the American West and refined contemporary design objects.

Exhibition view, Brute Force at THIRTY8EAST, New York. Photo by William James Laird.

Brute Force at THIRTY8EAST Reconsiders the Myth of the Male Artist