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Walead Beshty, Combine Prints (Single Phase Composition: CMY/Five Magnet: Irvine, California, March 25th 2010, Fuji Color Crystal Archive Super Type C, Em. No. 148-006, 18010-18410

Walead Beshty

Combine Prints (Single Phase Composition: CMY/Five Magnet: Irvine, California, March 25th 2010, Fuji Color Crystal Archive Super Type C, Em. No. 148-006, 18010-18410

2014

photographic paper

5 Parts Each: 

40 x 30 inches; 101.6 x 76.2 cm

Framed: 40.65 x 30.5 inches; 103.25 x 77.47 cm

Walead Beshty, Three Sided Picture (MRY), January 11, 2007, Santa Clarita, California, Fujicolor Crystal Archive

Walead Beshty

Three Sided Picture (MRY), January 11, 2007, Santa Clarita, California, Fujicolor Crystal Archive

2020

Color photographic paper

Framed Dimensions:

14 3/8 x 11 3/8 inches

36.5 x 28.9 cm

Paper dimensions:  14 x 11 inches

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Walead Beshty, Untitled (Los Angeles, California, February 1, 2019) - FINAL TITLE TBD

Walead Beshty

Untitled (Los Angeles, California, February 1, 2019) - FINAL TITLE TBD

2019

cyanotype chemistry on interfacing fabric, Exxon Slack Wax 75:493644, wood strainer

35 1/2 x 23 1/2 inches

90.2 x 59.7 cm

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Walead Beshty, Blind Collage (Two 180º Rotations, New York Post, Tuesday, October 22, 2019)

Walead Beshty

Blind Collage (Two 180º Rotations, New York Post, Tuesday, October 22, 2019)

2019

Newspaper, tape, and 22 karat gold leaf

39 3/8 x 31 1/2 x 1 1/2 inches

100 x 80 x 3.8 cm

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Walead Beshty, Copper Surrogate (60” x 120” 48 ounce C11000 Copper Alloy, 90º Bend, 60” Bisection/Section 4: April 12/June 19, 2017, New York, New York, June 20–21/October 16, 2017, New York, New York; May 22–23/September 12, 2019, Geneva, Switzerland; January 10–16/August 13, 2020, Winterthur, Switzerland; September 24, 2022, New York, New York)

Walead Beshty

Copper Surrogate (60” x 120” 48 ounce C11000 Copper Alloy, 90º Bend, 60” Bisection/Section 4: April 12/June 19, 2017, New York, New York, June 20–21/October 16, 2017, New York, New York; May 22–23/September 12, 2019, Geneva, Switzerland; January 10–16/August 13, 2020, Winterthur, Switzerland; September 24, 2022, New York, New York)

2017–

Polished Copper

11 x 60 x 60 inches

27.9 x 152.4 x 152.4 cm

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Walead Beshty, Cross-Contaminated Inverted RA4 Contact Print (YCM/Six Magnet: Los Angeles, California, April 11, 2016; Fujicolor Crystal Archive Super Type C, Em. No. 112-006; Kodak Ektacolor RA Bleach-Fix and Replenisher; Kreonite KM IV 5225 RA4 Color Processor, Ser. No. 00092174; 07116)

Walead Beshty

Cross-Contaminated Inverted RA4 Contact Print (YCM/Six Magnet: Los Angeles, California, April 11, 2016; Fujicolor Crystal Archive Super Type C, Em. No. 112-006; Kodak Ektacolor RA Bleach-Fix and Replenisher; Kreonite KM IV 5225 RA4 Color Processor, Ser. No. 00092174; 07116)

2017

Color Photographic Paper

146 1/8 x 101 5/8 inches

371.2 x 258.1 cm

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Walead Beshty, Los Trágico (August 28th - September 10th 2013: Cerámica Suro, Guadalajara, Jalisco, Mexico)

Walead Beshty

Los Trágico (August 28th - September 10th 2013: Cerámica Suro, Guadalajara, Jalisco, Mexico)

2013

Ceramica Suro slip cast remnants, glaze, and firing plate

17.5 x 31 x 20.5 inches

44.5 x 78.7 x 52.1 cm

Metal Pedestal:

37 7/8 x 32 7/8 x 29 inches

96.2 x 83.5 x 73.7 cm

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Walead Beshty -  - Viewing Room - Petzel Gallery

 

 

"I WAS INTERESTED IN MAKING WORK THAT PHYSICALLY CHANGED AS IT CIRCULATED THROUGH THE ART WORLD. WHAT IF YOU COULD PUT THE ENTIRE SYSTEM INTO THE OBJECT?"

Walead Beshty -  - Viewing Room - Petzel Gallery

Photographed by Rob Kulisek

Walead Beshty (b. 1976, London, U.K.) studied at Bard College and received his MFA from Yale University in 2002. He has held academic positions at th University of California, Los Angeles; Bard Collece, Annandale-on-Hudson, NY; the Art Institute of Chicago, IL; and recently at the Art Center of Design, Pasadena, CA.

Beshty explores the ways in which objects accrue and produce meaning through their placement and circulation in the world. This is none more apparent than in his “Copper Surrogates” series. For Petzel’s 2014 exhibition, Beshty created polished raw coper sculptures built to the dimensions of the gallery’s work surfaces, for example, Friedrich Petzel’s coffee table. As the gallery staff resumed their daily routines, their movements tarnished a patina onto the surfaces. The copper surrogates were to map the progression of the gallery staff’s immaterial labor.

Conversely, Beshty’s “Steel Surrogates” are not intended to be handled without gloves. The curvature of each piece of steel mimics the curve of the human eyeball, creating a strange sensation in depth perception for the viewer.

The Black Curls are photograms made from curling sheets of color photographic paper on a metal wall. The paper is unrolled approximating the reach of the artist’s body with his arms outstretched, and is then cut, placed on the wall, and supported with the magnets. As the paper is larger than the darkroom wall can accommodate, it must be curled and bowed in order to fit the exposure field. Using a photographic enlarger, the paper is exposed to each of the primary subtractive colors (cyan, magenta and yellow) in succession and the bands of color act as an index of the network of tensions within the printing process. In the case of these Cross-Contaminated Curls, the handprints are evidence of the processor jamming while the photograph is in the fixative bath.

Installation view of Beshty's exhibition at Kunst Museum Winterhur featuring a steel surrogate and copper panels.

Standard Deviations, Kunst Museum WInterhur, 2020 

Installation view

Installation view of Beshty's exhibition at Kunst Museum Winterhur featuring a large steel surrogate and copper surrogates.

Standard Deviations, Kunst Museum WInterhur, 2020 

Installation view

Installation view of Beshty's exhibition at MAMCO featuring a two large free standing cooper surrogates and six photographic images on the wall.

Walead Beshty, MAMCO, 2019

Installation view

Installation view of Beshty's exhibition at MAMCO featuring several copper surrogates on the walls with table and desks without tops on pedestals in the center of the room.

Walead Beshty, MAMCO, 2019

Installation view

Installation view of Beshty's exhibition at Capitain Petzel featuring a deconstructed computer work in the center of the floor and a large black curl piece on the wall in the background.

Gastarbeiten, Capitain Petzel, 2014

Installation view

Installation view from Beshty's show at Capitain Petzel with a copper desktop surrogate on the left wall, a desk skeleton on a pedestal in front of the surrogate, and multicolored curl hanging on the back wall.

Gastarbeiten, Capitain Petzel, 2014

Installation view