Dimensions variable
Office Work by Walead Beshty consists of a partially deconstructed desktop monitor screen, cleanly speared through its center onto a metal pole. Despite its dismantled form, the screen still functions, a simple, mountain-range desktop background clearly visible with no distortion. As with much of Beshty’s work, Office Work thematizes its own construction, in this case, through a clearly deconstructive action that preserves the technological ontology present through the monitor. Rather than engage in outright destruction, Beshty carefully articulates the inner workings of the monitor outwards, alluding to the near violence of his action through the screen’s stark impalement. The work exists uneasily between display and destruction, disputing singularly positivist notions of constructing art.
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...
The print Patient Admission, US Naval Hospital Ship Mercy, Vietnam (2010) features an Asian Buddhist monk and an American Navy Solider on board the Mercy ship –one of the two dedicated hospital ships of the United States Navy– sitting upright in their chairs and adopting the same posture...
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...
In this photographic series, Yto Barrada was interested in the logos of the buses that travel between North Africa and Europe...
Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
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...
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...
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...
Like many of Pascal Shirley’s photographs, Oakland Girls aestheticizes a dingy rooftop and a cloudy sky...
Custom-built for a silent film star in 1934 in Santa Monica, the Sten-Frenke House is an idiosyncratic icon...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...