313:'s Curve gallery from ceiling to floor. The last month of the project, Beshty produced cyanotypes in residence at the Barbican Centre with discarded items from the venue. Over 12,000 cyanotype prints were produced and presented in chronological order. Beshty states that the work "tells a very broad picture of the different productive forces that are moved through the studio. In that sense, I thought of the studio as … a machine for making a kind of picture … It's a transparent picture. It's a picture that shows exactly how it came into being, everything that was involved, every relationship, both the productive forces in terms of mechanical things—machinery and technology—but also the social relationships. And I think that's particularly important in art as well, that a large part of what makes an artwork is also the social relations between individuals, the people that come together and make something happen." The title for the work was taken from a title proposed in a 1979 lecture by
77:"I only try to not conceal the process, make it available; I don't look to reveal it. I simply try to make work that considers how it materially came into being, whose appearance is directly and transparently linked to that coming into being. I think that viewers can engage with work on multiple levels; I don't want to teach a lesson or provide a recipe, but I actively try not to conceal. Power works by concealing how it functions, by enforcing a ritual, naturalizing it. This makes the means through which power functions camouflaged, and power itself sublime. I try to avoid this as much as possible, and part of this is to situate the production of the work in a public or common structure, one that is accessible, ubiquitous, instead of tacitly claiming artistic inspiration or selfhood as a justification for a work"
186:, Beshty exposes color photographic paper to cyan, magenta, and yellow, "use of this system of color describes the field of all possible colors in the interaction between the primary subtractive colors." The unexposed paper is "curled" onto a metal wall in total darkness and kept in place with large magnets. The paper is then exposed to the colored light by a horizontal enlarger and processed with a large-format color processor. The final work "is not only the result of the tension between the size of the paper, the confines of the darkroom, and the artist's own body, but also the effects of the architectural infrastructure (i.e., the HVAC system, building vibration, etc.), which is expressed through the registration (or misregistration) of the colors."
175:
the paper casts an image of itself onto itself through the exposure process." In response to the photogram works being described as abstract, Beshty states that "Any standard, lens-based, figurative photograph is necessarily 'abstract' in the technical sense of the term. Since this separation of sign and signified does not exist in my works, they are never true abstractions, regardless of their appearance. This type of art object should be referred to as 'concrete' and 'literal,' as the viewer is always presented with the referent and the image at the same time. They are concrete photographs (with a lower case 'c'), not abstract or pictorial photographs."
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actively shar authorship with the system's necessary and essential producers." Beshty describes the active production of the work as "trac the immaterial labor of discourse, transaction, and negotiation that occurs across these surfaces, whether between insiders (for example, the discussion between a curator and a gallerist) or with a public (for example the interaction between a gallery receptionist and a visitor to the exhibition). In each of these instances, the meaning of the work is being constructed incrementally in both large and small ways, and is distributed by those individuals who engage across those surfaces."
171:. Recalling a conversation with Moholy-Nagy's grandson, Beshty describes the hypothesized Moholy-Nagy photograms as "a series of works using nothing more than crumpled photographic paper … The works were logically deduced to have most likely been made in 1921," yet no record of such a series existed at the time. Through this conversation, a title was also hypothesized for the works, "Abstraction Made by My Hand with the Assistance of Light." Beshty's photograms, individually titled "Picture Made by My Hand with the Assistance of Light," were made by exposing crumpled black and white photographic paper to light.
241:. These works were produced by shredding the photographic works that were produced for the exhibition but not included, and the pulp was then molded into "quasi-architectonic forms, from old print boxes and the like … " During the run of exhibition, Beshty shredded the unused works in the back room of the gallery and left them to dry on a large table in the middle of the room. Once dry, the works were added to the exhibition. Since 2008, Beshty has produced the
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which act as both part of the work and a support for the glass portion when exhibited. The glass works are shipped unprotected, so that cracks appear with each successive shipment. The polished copper works are shipped without a standard FedEx box, so that any handling by the courier imprints onto the surface of the work by oxidation. The FedEx waybills, customs documentation, and any shipping stickers added to the box are considered part of the work.
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installation of the work, the curator Jacob
Proctor noted that the work is "both an instant reflection and a constantly evolving record of traffic and circulation through the gallery at every stage of the exhibition process. It is also a work in progress … Every visitor to the exhibition therefore becomes an active participant in the creative process … what the floor demarcates is a zone in which a circulation of bodies is registered."
62:"Games aren't constituted with a particular outcome. Games are constituted by the rules that are used ... It isn't whether or not it produces one sort of outcome, but how all these rules react to one another and how it defines a set of relationships. In that same way, I don't think of any particular object as being particularly significant. It's much more the system that generates it."
362:
Kunsthalle Basel, Switzerland; Tate
Britain, London; Deichtorhallen Hamburg, Germany; and the Guggenheim Museum, New York and Bilbao, among others. He has had solo exhibitions at the Barbican Centre, London; Malmö Konsthall, Sweden; Centro de Arte Dos de Mayo, Madrid; Ullens Center for Contemporary Art, Beijing; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the
74:"I'm not interested in a grand definition of a particular medium—some sort of ontological construction—but in the particular expression of a set of relations within specific contexts. I think I'm most interested in the translation of abstract ideas—from abstraction in general to the materially specific. I'm very sensitive to abstractions, but I don't want to traffic in them."
210:. I considered this volume as my starting point; the perversity of a corporation owning a shape—not just the design of the object—and also the fact that the volume is actually separate from the box. They're owned independently from one another. Furthermore, I was interested in how art objects acquire meaning through their context and through travel, what
143:... originate in the very public, transitional space of the international airport, a very specific form of public space saturated with techniques of surveillance, monitoring, and scanning, and an in-between space situated in the intervals between sovereign states and their relatively unambiguous juridical frameworks."
68:"Objects have no meaning in themselves, rather they are prompts for a field of possible meanings that are dependent on context … That is, objects facilitate certain outcomes to arise that are not wholly predictable. These interactions accumulate over time, thus the meaning of an object is ever evolving."
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works are made of either laminated glass (clear or two-way mirror) or raw polished copper constructed to the size of standardized FedEx shipping boxes. The works are then shipped to their destination by FedEx's
Express service. The glass works are shipped inside FedEx shipping boxes of the same size,
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machines while traveling to Berlin. Having discovered this, he proceeded to use the film and pass it through the scanners once again on his return journey. This generated images with "large washes of color … superimposed over them" of a site "denatured of its sovereignty and exposed to the elements,"
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Although Beshty is most known for his work in photography, his bodies of work span a large variety of media including sculpture, painting, installation, and video. In regard to medium distinctions, he has emphasized that he "tr to consider each body of work on its own terms, discretely, so terms like
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Beshty's
Mirrored Floor works consist of laminated, layered mirrored glass floor panels installed edge-to-edge to cover the entirety of an exhibition space including staff offices. The panels crack and break under the weight of viewers during the course of the exhibition. On the occasion of an early
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as wall panels in various sizes framed in polished copper. He says of the work, "This line of work … reflects the fact that even though I always end up not showing a lot of the work I produce, I still need to account for the discarded pieces in some way. I like to think of the entire process as sort
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Beshty states that he was "initially interested … because they're defined by a corporate entity in legal terms. There's a copyright designating the design of each FedEx box, but there's also the corporate ownership over that very shape. It's a proprietary volume of space, distinct from the design of
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Subsequent black and white and color photogram series have been produced using similar processes, which Beshty describes as "multiple tracings of a three-dimensional object on the field of the photograph. The resulting photograph is both a depiction of the photographic paper and the paper itself, as
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replace the existing working surfaces for a period of an exhibition cycle, and the surfaces are used by the staff as they normally would be, "… traces of the manual work performed upon these tabletops registers upon their surfaces as a process of touch … " Once the exhibition cycle is complete, the
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called, something like, 'the unbearable compromise of the portable work of art.' So, I wanted to make a work that was specifically organized around its traffic, becoming materially manifest through its movement from one place to another." The curator and writer
Nicolas Bourriaud describes Beshty's
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as "consist of grainy, virtually monochrome fields of degraded color (lavenders, pinks, plums, scarlets, turquoise; but also steely grays and charcoal blues) bisected edge-to-edge by either white bands that evoke shafts of soft light or, inversely, deep graphite grays resembling cast shadows … The
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review of works from the series, Tina
Kukielski notes, "the 'Copper Surrogates' are indexical. In raw polished copper, has found the equivalent of the photograph's light-sensitive paper. But rather than record inscriptions of light, the material registers the elbow grease of the gallery system …
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photogram prints on discarded papers, cardboard, wood, or any other cellulose-based material culled from his studio. The materials contain "private correspondences, interactions with the museum, and so on. Every detail—personal, professional, everything—is actually in the work itself, and what's
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published in the exhibition catalog, Beshty comments on the conditions of the airport and air travel, stating, "In this constellation of forces, the x-ray has pride of place, delineating the edge between the 'real' world, and the siteless limbo of air travel. Its accidental discovery in the late
25:
Beshty has taught at numerous schools including
University of California, Los Angeles; University of California, Irvine; the California Institute of the Arts; School of the Art Institute of Chicago; Art Center College of Design, Pasadena; and the MFA Program at Bard College. Beshty has exhibited
361:
Beshty's work has been shown in hundreds of exhibitions worldwide, including institutions such as the Jewish Museum, New York; the Museum of
Contemporary Art, Los Angeles; the Whitney Museum of American Art, New York; the Museum of Contemporary Art, Chicago; the Museum of Modern Art, New York;
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works made from 10 x 5-foot standard industrial sheets of polished copper folded equally in half in various angles. Instead of being produced and marked as a desk or working surface, these works were handled by their installers leaving marks from the installation process on their surfaces that
65:"Art itself has the potential to democratize aesthetics and reimagine aesthetic production as communal, available and non-hierarchical. I like the idea of demystifying aesthetics by communicating that we can all make aesthetic objects; it's not simply for those with capital or power."
677:
Koenig Books, 2017. Published on the occasion of the survey exhibition "Walead Beshty: Standard
Deviations" at Musée d'art moderne et contemporain, Geneva, and Kunst Museum Winterthur, Switzerland. With texts by Noam M. Elcott, Walead Beshty, Hamza Walker, Lionel Bovier, and Lynn
96:
The series of large-format photographs documents an abandoned Iraqi diplomatic office located in former East Berlin, itself vacated to the West by the German
Democratic Republic in 1990. Before photographing the site, Beshty's unexposed film was damaged by airport security
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of an ecology in itself, which extends way beyond objects. The final products are not alone important. I feel a need to include the by-products, all of which never make it to the final show, and to figure out a way they can reach the exhibition site."
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series, Beshty began traveling with unexposed 4 x 5 transparency film in his luggage, thereby exposing the film to the high-powered airport X-ray scanners. In his essay on Beshty's work for the book
402:
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1800s fits seamlessly into modernity's fascination with transparency: the desire to capture the minutiae of movement (cinema), to turn objects into surface (photography), to see inside (x-ray)."
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Depart Foundation, 2010. Published on the occasion of Beshty's collaborative exhibition with the architecture firm Johnston Marklee. presented at the Italian Cultural Institute of Los Angeles.
539:
Beshty has written on a variety of media, including essays on cinema, painting, sculpture, and photography. In addition, he has authored many monographic texts on artists such as
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A Partial Disassembling of an Invention without a Future: Helter-Skelter and Random Notes in which the Pulleys and Cogwheels Are Lying around at Random All over the Workbench
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series is an explicit example … the form is literally produced by its incorporation into a system of distribution (FedEx), and through its capacity to record a trajectory."
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more, it is what it is. It's debris, it depicts debris; it's a work, it depicts making a work." The resulting piece was installed in 2014 on the 90-meter long wall of the
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JRP|Ringier, 2018. Edited by Beshty, published with LUMA and CCS Bard on the occasion of the exhibition Picture Industry, LUMA, Arles, October 12, 2018 – January 6, 2019.
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27:
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1404:, conversation on the occasion of “2014 Sound and Vision: The Conversations” at Paris Photo, Paramount Pictures Studios, Los Angeles, CA, April 25, 2014.
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at Malmö Konsthall, Sweden and Centro de Arte Dos de Mayo, Madrid. With texts by Suzanne Hudson, Nicolas Bourriaud, and an interview with Bob Nickas.
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219:, " … as being made up of images or objects that 'remember' their previous or initial state, that have memorized or archived their course. The
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Beginning in 2013, Beshty began production on a more than yearlong project that catalogues every used or exhausted object in his studio with
515:
317:"in which he discusses how meaning is opened up when a thing's currency has passed … that dormant things have a great deal of potential."
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in New York. In 2012, the artist hole-punched the original nine negatives from the series, and prints of these works, under the title
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at the Rose Museum of Art at Brandeis University, Waltham, Massachusetts (2013, co-curated with Christopher Bedford);
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in Los Angeles in 2006, and has been shown in exhibitions worldwide including in the 2008 Biennial Exhibition at the
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798:
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168:
682:
Addenda to a Sequence of Appearances: Walead Beshty Studios Inc. at Dane Chantala Associates Ltd., 2009–2023.
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works are produced to the size of the existing working surfaces and desks of an exhibition venue. The
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782:
http://www.blouinartinfo.com/news/story/1073185/house-of-games-a-look-into-the-world-of-walead-beshty
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Museum of Art, Ann Arbor; the Hammer Museum, Los Angeles; and PS1 Contemporary Art Center, New York.
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University of Michigan Museum of Art. Published on the occasion of the eponymous exhibition in 2009.
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Second, expanded edition. 2014. With interventions by Beshty, including additional plates and texts
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1045:
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Noah Simblist, "Concreteness and Circumstance: Noah Simblist in Conversation with Walead Beshty,"
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widely in numerous institutions and galleries around the world. Beshty is visiting faculty at the
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Walead Beshty: A Partial Disassembling of an Invention Without a Future at Barbican Center,
1355:"Pictures are the Problem: Curated by Walead Beshty - Pelham Art Center - Absolutearts.com"
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Positions Series, JRP|Ringier and Les presses du réel, 2016. Introduction by George Baker.
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370:
314:
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86:'sculpture' or 'photography,' in their broad sense, don't really enter into thinking … "
51:
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Walead Beshty: 33 Texts: 93,614 Words: 581,035 Characters: Selected Writings (2003–2015).
1402:
Douglas Fogle in conversation with Philippe Verge, Walead Beshty & Jean-Luc Moulène
587:(LACMA, 2009) among others. Beshty has also edited a number of publications including
1440:
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UCLA Department of Art Lectures: Walead Beshty, Hammer Museum, Los Angeles, CA, 2010.
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Walead Beshty: Natural Histories, 2nd ed. (Zurich, Switzerland: JRP|Ringier), p. 189.
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468:
342:
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1266:"A Machinery for Living - Organized by Walead Beshty - Exhibitions - Petzel Gallery"
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Walead Beshty: Natural Histories, 2nd ed. (Zurich, Switzerland: JRP|Ringier), p. 188
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Daily Serving: An International Publication for Contemporary Art, January 26, 2015.
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at Redling Fine Art in Los Angeles, and in 2010 he collaborated on an exhibition,
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http://www.capitainpetzel.de/wp-content/uploads/2014/03/2014-1_Elephant_WB_CP.pdf
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http://www.capitainpetzel.de/wp-content/uploads/2014/03/2014-1_Elephant_WB_CP.pdf
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at PS1 Contemporary Art Center, New York (2006, co-curated with Bob Nickas); and
71:" … you can't produce negatively, production is an active, cumulative process."
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Max Andrews, “Picture Industry: A Provisional History of the Technical Image,”
727:
345:. The artists' works have been exhibited at Redling Fine Art in Los Angeles (
341:. In 2013, Beshty began production on works in collaboration with the artist
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are considered complete and are hung as wall works for exhibition. In a 2014
116:, were shown alongside the original series at Thomas Dane Gallery in London.
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Maxwell Williams, "House of Games: A Look into the World of Walead Beshty,"
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Beshty's work is held in permanent museum collections worldwide, including:
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164:
1096:"VernissageTV Art TV - Walead Beshty at the Curve, Barbican Centre, London"
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Picture Industry: A Provisional History of the Technical Image 1844–2018.
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Picture Industry: A Provisional History of the Technical Image, 1844–2018
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1319:"Picture Industry (Goodbye to All That) - Exhibitions - Regen Projects"
1166:"Walead Beshty + Kelley Walker - - Exhibitions - Paula Cooper Gallery"
827:, Monograph, 2nd ed. (Zurich, Switzerland: JRP|Ringier, 2014), p. 101.
637:
JRP Ringier, 2011. Published on the occasion of the survey exhibition
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1141:"Redling Fine Art—Walead Beshty + Kelly Walker: HARD BODY SOFT WARE"
1031:, ex. cat. (Ann Arbor: University of Michigan Museum of Art), p. 19.
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http://www.konsthall.malmo.se/upload/pdf/Walead_Beshty_Interview.pdf
852:, ex. cat. (Ann Arbor: University of Michigan Museum of Art), p. 25.
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Mikkel Carl, "Interview: Walead Beshty," Malmö Konsthall, 2011.
823:"Open Source: Walead Beshty in Conversation with Bob Nickas" in
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Systematically Open? New Forms for Contemporary Image Production
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http://x-traonline.org/article/walead-beshty-processcolorfield/
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the box, which is identified through what's called a SSCC #, a
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1127:"Redling Fine Art—Walead Beshty + Karl Haendel: Plug N' Play"
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at Pelham Art Center, Pelham, New York (2005), among others.
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Beshty has organized a number of group exhibitions including
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work more generally in a text included in Beshty's monograph
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works based on a possible yet undocumented series of work by
1016:"Directions: Walead Beshty: Legibility on Color Backgrounds"
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Walead Beshty, "Lesson: Notes for an Introductory Lecture,"
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differed based on the sculpture's shape, scale, and mass.
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Walead Beshty: Pulleys, Cogwheels, Mirrors, and Windows.
563:, among others. Essays by Beshty have been published in
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pieces as a part of his 2008 exhibition in Los Angeles,
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Walead Beshty: Pulleys, Cogwheels, Mirrors, and Windows
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Walead Beshty: Pulleys, Cogwheels, Mirrors, and Windows
665:
JRP|Ringier, 2017. Introduction by Hans Ulrich Obrist.
134:(Damiani Editore, 2010), Jason E. Smith describes the
22:(born 1977) is a Los Angeles–based artist and writer.
1059:, 2nd ed. (Zurich, Switzerland: JRP|Ringier), p. 187.
987:, 2nd ed. (Zurich, Switzerland: JRP|Ringier), p. 188.
975:, 2nd ed. (Zurich, Switzerland: JRP|Ringier), p. 190.
895:"Hammer Projects: Walead Beshty | Hammer Museum"
385:(2008), and the California Biennial (2006 and 2008).
1409:“Walead Beshty and Eileen Quinlan in Conversation,”
1044:, X-TRA Contemporary Art Quarterly, Vol. 14, No. 2.
625:
works. With texts by Jason E. Smith and Peter Eleey.
963:, 2nd ed. (Zurich, Switzerland: JRP|Ringier), p. 6.
703:"Walead Beshty - Artists - Galerie Eva Presenhuber"
959:Jacob Fabricius and Ferran Barenblit, "Foreword,"
611:Walead Beshty: Selected Correspondences 2001–2010.
882:Walead Beshty: Selected Correspondences 2001–2010
349:, 2014) and at Paula Cooper Gallery in New York (
132:Walead Beshty: Selected Correspondences 2001–2010
430:Sunless (Journeys in Alta California since 1933)
347:Walead Beshty + Kelley Walker: Hardbody Software
629:Walead Beshty and Johnston Marklee: LaterLayer.
565:Afterall, Aperture, Artforum, Cabinet, Parkett,
1071:"Walead Beshty - Exhibitions - Regen Projects"
426:On the Matter of Abstraction (figs. A & B)
351:Walead Beshty + Kelley Walker: Crystal Voyager
163:In 2005, Beshty began production of his first
1108:Katya Tylevich, "Invisible Transformations,"
793:Katya Tylevich, "Invisible Transformations,"
675:Walead Beshty: Work in Exhibition, 2011–2020.
657:Walead Beshty: Procedurals, Petzel 2014–2017.
613:Damiani Editore, 2010. Three bodies of work:
325:In 2009, Beshty collaborated with the artist
102:The set of nine works was first shown at the
28:Southern California Institute of Architecture
8:
663:Industrial Portraits: Volume One, 2008–2012.
579:(Museum of Contemporary Art/Rizzoli, 2012),
369:Beshty's work has been included in the 56th
34:, Petzel Gallery, and Thomas Dane Gallery.
880:Jason E. Smith, "Securities and Exchange,"
1333:"MoMA PS1: Exhibitions: The Gold Standard"
728:"Walead Beshty - Artists - Petzel Gallery"
266:Made from mirror-polished raw copper, the
150:. In a dialog with the exhibition curator
884:(Bologna, Italy: Damiani Editore), p. 11.
409:, Annandale-on-Hudson, New York (2017);
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492:Museum of Contemporary Art, Los Angeles
436:at Regen Projects, Los Angeles (2010);
432:at Thomas Dane Gallery, London (2010);
381:(2011), the Tate Triennial (2009), the
1462:English emigrants to the United States
909:"Walead Beshty: 2008 Whitney Biennial"
434:Picture Industry (Goodbye to All That)
42:Beshty earned a Bachelor of Arts from
589:Ethics: Documents of Contemporary Art
581:Chance: Documents of Contemporary Art
475:Hirshhorn Museum and Sculpture Garden
178:In more recent series, including the
7:
1392:Noam M. Elcott, “Picture Industry,”
516:University of Michigan Museum of Art
424:at Petzel gallery, New York (2014);
397:, Luma Arles, Arles, France (2018);
146:In 2009, the works were featured in
812:Akademie X: Lessons + Tutors in Art
486:Museum of Contemporary Art, Chicago
639:Walead Beshty: A Diagram of Forces
615:Scenes from Tschaikowskistrasse 17
504:San Francisco Museum of Modern Art
420:LUMA Arles, Arles, France (2016);
30:. Walead Beshty is represented by
14:
1057:'Walead Beshty: Natural Histories
635:Walead Beshty: Natural Histories.
16:American photographer (born 1976)
1396:, vol. 56, no. 4, December 2017.
1112:, No. 17, Winter 2013, p. 126.
1042:Walead Beshty: PROCESSCOLORFIELD
985:Walead Beshty: Natural Histories
973:Walead Beshty: Natural Histories
961:Walead Beshty: Natural Histories
825:Walead Beshty: Natural Histories
481:Los Angeles County Museum of Art
289:In 2014, Beshty exhibited large
571:; and in anthologies including
148:Altermodern: The Tate Triennial
528:Whitney Museum of American Art
208:Serial Shipping Container Code
108:Whitney Museum of American Art
1:
1216:"CCS Bard | Picture Industry"
621:works, and selections of his
583:(Whitechapel/MIT, 2010), and
403:Center for Curatorial Studies
337:, with the architecture firm
126:Following the concept of the
950:(London: Tate, 2009), p. 54.
591:(Whitechapel/MIT, 2015) and
463:Solomon R. Guggenheim Museum
197:First produced in 2007, the
1432:Walead Beshty Studios, Inc.
948:Altermodern: Tate Triennial
506:, San Francisco, California
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1387:online, December 20, 2018.
1170:www.paulacoopergallery.com
522:Victoria and Albert Museum
233:Beshty produced the first
1472:Yale School of Art alumni
595:(Photo-Based Art, 2013).
471:, Los Angeles, California
1241:"LUMA ARLES – Programme"
814:(London: Phaidon, 2015).
512:, London, United Kingdom
457:Art Institute of Chicago
442:Pictures Are the Problem
797:, No. 17, Winter 2013.
753:"Walead Beshty - Works"
54:School of Art in 2002.
32:Galerie Eva Presenhuber
1452:American photographers
585:Words without Pictures
422:A Machinery for Living
364:University of Michigan
1075:www.regenprojects.com
684:Hurtwood Press, 2023.
518:, Ann Arbor, Michigan
1359:www.absolutearts.com
1343:on October 29, 2011.
649:Lionel Bovier, ed.,
577:The Painting Factory
498:Museum of Modern Art
250:Mirrored Floor works
1457:Bard College alumni
1298:Thomas Dane Gallery
946:Nicolas Bourriaud,
927:Thomas Dane Gallery
840:, March/April 2010.
757:Thomas Dane Gallery
707:www.presenhuber.com
488:, Chicago, Illinois
459:, Chicago, Illinois
389:Curatorial projects
371:La Biennale Venezia
329:for the exhibition
48:Master of Fine Arts
1423:Jordan Amirkhani,
1280:"Past Exhibitions"
1145:redlingfineart.com
477:, Washington, D.C.
448:Public collections
401:at Hessel Museum,
1413:, September 2009.
897:. April 20, 2006.
575:(Phaidon, 2015),
438:The Gold Standard
411:Picture Industry,
379:Montréal Biennial
375:Shanghai Biennial
277:Copper Surrogates
272:Copper Surrogates
217:Natural Histories
169:Lázló Moholy-Nagy
152:Nicolas Bourriaud
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339:Johnston Marklee
291:Copper Surrogate
268:Copper Surrogate
260:Copper Surrogate
239:Science Concrète
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1341:the original
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1248:. Retrieved
1244:
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1225:November 17,
1223:. Retrieved
1220:www.bard.edu
1219:
1210:
1198:. Retrieved
1195:www.luma.org
1194:
1191:"LUMA Arles"
1185:
1173:. Retrieved
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623:Transparency
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557:Annette Kelm
553:Luisa Lambri
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494:, California
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407:Bard College
398:
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377:(2012), the
373:(2015), the
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331:Plug 'n Play
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327:Karl Haendel
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44:Bard College
41:
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1447:1976 births
1337:momaps1.org
413:as part of
357:Exhibitions
184:Black Curls
180:Color Curls
1441:Categories
838:Art Papers
689:References
573:Akademie X
530:, New York
500:, New York
465:, New York
335:LaterLayer
159:Photograms
1364:March 29,
1303:March 29,
1200:March 29,
1175:March 29,
1150:March 29,
1080:March 29,
932:March 29,
541:Jay DeFeo
353:, 2014).
306:cyanotype
165:photogram
38:Education
1394:Artforum
1110:elephant
795:elephant
524:, London
282:Artforum
58:Practice
1294:"Works"
923:"Works"
762:July 1,
737:July 1,
712:July 1,
535:Writing
1385:Frieze
617:, his
559:, and
678:Kost.
262:works
221:FedEx
212:Buren
199:FedEx
193:works
191:FedEx
99:X-ray
81:Works
50:from
1366:2024
1305:2024
1252:2017
1227:2017
1202:2024
1177:2024
1152:2024
1082:2024
934:2024
764:2024
739:2024
714:2024
567:and
510:Tate
182:and
1443::
1357:.
1335:.
1296:.
1243:.
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1193:.
1168:.
1143:.
1073:.
925:.
857:^
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705:.
555:,
551:,
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405:,
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936:.
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784:.
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716:.
418:,
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