23.62 x 18.11 x 18.11 inches (60 x 46 x 46 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...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
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...
Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender...
Justice (2014) presents viewers with a curious assemblage: a wooden gallows with slightly curved spindles protruding from the topmost plank, which in turn is covered with rudimentary netting, the threads slackly dangling like a loose spider’s web or an rib cage that’s been cracked open...
For the exhibition 1440 sunsets per 24 hours at KADIST Paris in 2017, Haig Aivazian presented a sprawling installation, which sought to enact various instances of the deployment of light and darkness within public space and sports, reflecting on the double-edged abilities of lighting systems to expose, highlight or dissimulate subjects...
The Van Gogh painting that was stolen—and recovered in an Ikea bag—goes on show Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Adventures with Van Gogh blog The Van Gogh painting that was stolen—and recovered in an Ikea bag—goes on show Research reveals that the artist began the work as a winter scene and transformed it into a spring landscape Martin Bailey 9 February 2024 Share Conservator Marjan de Visser examining Van Gogh’s The Parsonage Garden at Nuenen in Spring (March 1884) Depot Boijmans van Beuningen...
MUM , the acronym used to title a series of Rogan’s small interventions on found magazines, stands for “Magic Unity Might,” the name of a vintage trade magic publication...
While his works can function as abstract, they are very much rooted in physicality and the possibilities that are inherent in the materials themselves...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
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...
Black Curl (CMY/Five Magnet: Irvine, California, March 25, 2010, Fujicolor Cyrstal Archive Super Type C, EM No 165-021, 05910) is a visually compelling photogram...
Office Work by Walead Beshty consists of a partially deconstructed desktop monitor screen, cleanly speared through its center onto a metal pole...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender...
Tourisme International was shot as the recording of a show on the scale of a country...
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
International Women's Day: Inspiring Women | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles March 6, 2020 By ArtsEquator For International Women’s Day, ArtsEquator asked 11 women arts leaders in SEA to tell us about a woman who has inspired, supported or mentored them on their arts journey...