Image Universe: Altered States

We round out our summer series on pilgrimages with an "Image Universe" on a different kind of trip.

Editor's Note

Regardless of your stance on drugs, it's impossible to argue that artists throughout history haven't drawn much inspiration from altered states. As part of our pilgrimage series, we look at a selection of artists whose carefully crafted worlds have the ability to take us on one hell of a trip.

Installation view of Yayoi Kusama's Obliteration Room, 2011. Courtesy the Gallery of Modern Art, Brisbane.

Nick Cave, Soundsuit #2, 2009/2011. Archival Pigment Print. Courtesy

Mati Klarwein, Album Cover for Miles Davis’ Bitches Brew, 1970. Courtesy

ASSUME VIVID ASTRO FOCUS, amour vivacité ardeur fantaisie, 2011. Print made with archival pigments on paper. Courtesy

Dave Greber, Peekaboo, 2011. Video and mixed media construction (Still). Courtesy Arthur Roger Gallery, New Orleans.

Thomas Ruff, Substrat 14 II, C-print mounted to diasec. Courtesy the artist and David Zwirner, New York.

Takashi Murakami, Wallpaper for PC and tablets. Courtesy

Joseph Wood, Title and year Unknown. Courtesy the

Glenn Brown, The Great Masturbator, 2006. Oil on panel. Courtesy the Sander Collection.

Lynda Benglis, Hills and Clouds, 2014. Cast polyurethane with phosphorescence and stainless steel. Courtesy the artist and Cheim and Read, New York.

Salvador Dali, The Persistence of Memory, 1931. Oil on canvas. Courtesy the Museum of Modern Art, New York.

Trailer for Jaromil Jireš' Valerie and Her Week of Wonders, 1970. Courtesy

Francis Bacon, Three studies for portrait of george dyer, 1969. oil on canvas. Courtesy the Louisiana Museum of Modern art, Humlebæk, Denmark.

Jean Michel Basquiat, Scull, 1981. Acrylic and crayon on canvas. Courtesy the Broad Collection, Los Angeles.

Fred Tomaselli, Cyclopticon, 2003. Surface-mounted pigment print on Plexiglas. Courtesy

Eugenia Loli, Fire in the Hole. Courtesy


Photo Essay