16 1/4 x 13 1/4 x 10 1/2 inches (41.3 x 33.7 x 26.7 cm)
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination. Displayed with the cardboard boxes (and their shipping labels, which chart the journey in a different way) that contain them during the journey, these damaged forms draw from minimalist sculpture, and conceptual artworks that focused on distance, travel, and virtual connections.
Artist and writer Walead Beshty examines the processes of his own multidisciplinary (though primarily photographic) work’s production, linking these processes to global issues including human migration,displacement, and technology. His works, oftentimes visually abstracted, argue for their own production as a process of transformation, emphasizing an expansive array of actions and methods through which art can be structurally transformed or produced. In this way, by examining the matrix of production surrounding his individual artworks, Beshty’s introspection also expands outward onto a complex field of vectors connecting actions, subjects, structures, and forms. Beshty explores the limitations and possibilities of his mediums, which include photography, light, metal, glass, cardboard, and, often, distance. Often striking in their visual presence, his work reflects the movement of images and objects, both in a literal sense and in terms of the way that ideas and materials are circulated and exchanged. They also convey another narrative: the history and the processes that construct both the world and his art.
Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light...
Wolfgang Tillmans initiated the ongoing series Faltenwurf in 1989, representing compositions of unused clothing, with special attention paid to the ways in which they drape and fold...
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
7-headed Lalandau Hat by Yee I-Lann is an intricately woven sculpture evoking the ceremonial headdress worn by Murut men in Borneo...
Like many of Pascal Shirley’s photographs, Oakland Girls aestheticizes a dingy rooftop and a cloudy sky...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
Catherine Opie’s candid photograph Cathy (bed Self-portrait) (1987) shows the artist atop a bed wearing a negligee and a dildo; the latter is attached to a whip that she holds in her teeth...
In this work, a woman sits on a couch with her shirt pulled up to expose her pierced nipples, which are connected by a chain...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
This photograph is part of the series titled “Iris Tingitana project” (2007) focusing on the disappearance of the iris...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
To explore the boundaries between artwork and audience, Gimhongsok created a series of sculptural performances in which a person wearing an animal costume poses in the gallery...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
In this photographic series, Yto Barrada was interested in the logos of the buses that travel between North Africa and Europe...
Custom-built for a silent film star in 1934 in Santa Monica, the Sten-Frenke House is an idiosyncratic icon...
Lockhart’s film Lunch Break investigates the present state of American labor through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
The version of Frontier acquired by the Kadist Collection consists of a single-channel video, adapted from the monumental installation and performance that Aitken presented in Rome, by the Tiber River, in 2009...