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Walead Beshty
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Photography's Second Kill
by Charlie Schultz
Walead Beshty, Daniel Gordon, Leslie Hewitt, Carter Mull, Sterling Ruby, Sara VanDerBeek at MoMA (Museum of Modern Art)
September 30th, 2009 - January 11th, 2010
Posted
1/4/10
At the turn of the last century everybody was saying photography killed painting. Now it seems photography has killed itself in an effort to be more like painting. The first time around the killing was all about representation and which medium was better suited to depict the physical world. Painting lost and went abstract. The second killing is all about process, and if there was blood to be shed, it would be all over the Robert and Joyce Menschel Photography Gallery where New Photograph... [more]
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Marbles on Maiden Lane
by Joanna Szupinska
Walead Beshty, Karl Haendel, Patrick Hill at NOMA Gallery
September 3rd, 2009 - October 3rd, 2009
Posted
9/14/09
For those familiar with the practices of Walead Beshty, Karl Haendel, and Patrick Hill, grouping them together in an exhibition may seem a little unexpected at first. Play with Your Own Marbles, currently on view at Noma Gallery in San Francisco, presents the work of these three Los Angeles-based artists in, if nothing else, a formally handsome show. Though cleverly clustered in a fashion reminiscent of photographer Wolfgang Tillmans' installations (a method Haendel also plays with in his own i... [more]
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Elementals
by Abraham Ritchie
Walead Beshty, Adam Ekberg, Luisa Lambri, Hiroshi Sugimoto at Museum of Contemporary Art (MCA)
June 13th, 2009 - October 4th, 2009
Posted
8/31/09
On the second floor of Chicago’s Museum of Contemporary Art (MCA) is “Elements of Photography,” curated by Curatorial Assistant Michael Green. This area of the MCA is usually reserved for smaller, “focus” type of shows as befits the minimal square footage of that gallery and this exhibition follows that trend. Pulled from the museum’s permanent collection, the photographs on display, “focus on the elemental materials of nature: light and water. [Which are] also the fun... [more]
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OCMA's California Biennial on View Through March 15
by Michael Buitron
Michael Arcega, Edgar Arceneaux, The Backroom, My Barbarian, Kelly Barrie, Justin Beal, Walead Beshty, Andrea Bowers, Jedediah Caesar, Sarah Cain, Bruce Conner, Einar and Jamex de la Torre, Felipe Dulzaides, Sam Durant, Marcos Ramirez ERRE, ESL (Esthetics as a Second Language), Morgan Fisher, Piero Golia, Gronk, Karl Haendel, Mark Hagen, Skylar Haskard, Patrick "Pato" Hebert, Evan Holloway, Margaret Honda, Jordan Kantor, Mary Kelly, Tony Labat, D'nell Larson, Elad Lassry, William Leavitt, Matt Lucero, Shana Lutker, Daniel Joseph Martinez, Rodney McMillian, Julio Cesar Morales, Raymond Pettibon, Journal of Aesthetics and Protest, Yvonne Rainer, Marco Rios, Amanda Ross-Ho, Aaron Sandnes, Anna Sew Hoy, High Desert Test Sites, Jim Skuldt, Kara Tanaka, Joel Tauber, Ruben Ortiz Torres, Erika Vogt, Mary Weatherford, Lauren Woods, Brenna Youngblood at Orange County Museum of Art (OCMA)
October 26th, 2008 - March 15th, 2009
Posted
10/25/08
It has been a rough start to the new millennium, and sadly art survey shows have failed to reflect the context in which art makers and viewers live. Thankfully Lauri Firstenberg of LAXART has remedied the disconnect with the 2008 California Biennial.
Before you walk in the door, Sam Durant's banners (in English and Spanish) hijack the OC's civic-boosterism-via-banner-blight, by reminding residents that their comfortable homes were built by the sweat of an undocumented workforce, on a piece of... [more]
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A Look at Walead Beshty
by Nico Machida
Walead Beshty at International Art Objects Galleries
January 7th, 2008 - February 8th, 2008
Posted
1/27/08
Since the turn of this century, Walead Beshty has been putting the medium of photography into the service of various social and political critiques, with consumerism chief among his targets. In series like “The Phenomenology of Shopping,” 2001-2003, which depicts Beshty variously fondling, inhabiting, and becoming one with everyday commodity displays, the fact of photographic capture seems to verify and seal the literalness of the artist’s critical act. In this work, the conceptual rigor of th... [more]
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