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.
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...
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...
Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...
Golia’s Untitled 3 is an installation in which a mechanical device is programmed to shoot clay pigeons that are thrown up in front of a white wall...
Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California...
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...
Using the seminal 1958 film Vertigo as a launchpad, Lynn Hershman Leeson explores the blurred lines between fact and fantasy in VertiGhost , a film commissioned by the Fine Arts Museums in San Francisco...
Custom-built for a silent film star in 1934 in Santa Monica, the Sten-Frenke House is an idiosyncratic icon...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
7-headed Lalandau Hat by Yee I-Lann is an intricately woven sculpture evoking the ceremonial headdress worn by Murut men in Borneo...
This photograph is part of the series titled “Iris Tingitana project” (2007) focusing on the disappearance of the iris...
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...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
Gypsy shows an ambivalent scene, in which broken blinds and its unsmiling subject are balanced with the stilllife plentitude of watermelon slices and the beautifully lit nudity of the sitter...