WALEAD BESHTY
b. 1976, London, UK
> WORKS
EDUCATION
2002 MFA, Yale University School of Art, New Haven, CT
1999 BA, Bard College, Annandale-on-Hudson, NY
SOLO EXHBITIONS
2009
Thomas Dane Gallery, London, UK (forthcoming)
Legibility on Color Backgrounds, Hirshhorn Museum and Sculpture Garden, Washington, DC
Pulleys, Cogwheels, Mirrors, and Windows, University of Michigan Museum of Art, Ann Arbor, MI
Popular Mechanics, Wallspace, New York, NY
Passages, LAXART, Los Angeles, CA
2008
Science Concréte, China Art Objects Galleries/Redling Fine Art, Los Angeles, CA
Industrial Pictures, Galerie Rodolphe Janssen, Brussels, Belgium
2007
The Grey Cloth, Das Institut im Glaspavillon/Galerie Meerrettich, Berlin Germany
2006
The Maker and the Model, Wallspace, New York, NY
Hammer Project: Walead Beshty, EMBASSY! (a dismal science waiting room), Armand Hammer Museum of Art, Los Angeles, CA. Including Film Screening, “24 hour Armageddon: A Cold War Slumber Party”, a 24 hour film screening of Disaster Films
2005
Parks, Hotels & Palaces, China Art Objects Galleries, Los Angeles, CA
2004
The Body-Body Problem, Wallspace, New York, NY
The Phenomenology of Shopping and Dead Malls—curated by Bob Nickas, P.S.1 Contemporary Art Center, Long Island City, NY
TWO PERSON EXHIBITIONS
Walead Beshty & James Welling, The Suburban, Oak Park, IL
GROUP EXHIBITIONS
2009
New Photography—curated by Eva Respini. The Museum of Modern Art, NY.
Elements of Photography, Museum of Contemporary Art Chicago, Chicago, IL
Our Mirage, Art : Concept, Paris, France
FIVE, Baibakov Art Projects, Moscow, Russia
Still Revolution: Suspended in Time, Museum of Contemporary Canadian Art, Toronto, CA
Altermodern: The Tate Triennial—curated by Nicolas Bourriaud, The Tate Britain, London, UK
Walead Beshty, Kelly Walker, Christopher Williams, China Art Objects Galleries, Los Angeles, CA
Phot(o)bjects—curated by Robert Nickas, Presentation House Gallery, Vancouver, BC
The Space of the Work and the Place of the Object, The Sculpture Center, Long Island City, NY
A Twilight Art, Harris Lieberman Gallery, New York, NY
To Be Determined, Andrew Kreps, New York, NY
The Photographic Object: between sculpture and photography—curated by Clare Grafik, The Photographer’s Gallery, London, UK
2008
Now You See It—curated by Heidi Zuckerman Jacobson, Aspen Art Museum, Aspen, CO (Ex. cat)
Objects of Value—curated by Rene Morales, Miami Art Museum, Miami, FL
2008 Whitney Biennial—curated by Henriette Huldisch and Shamim M. Momin, The Whitney Museum of American Art, New York, NY (Ex. cat)
The World Is All That Is The Case—curated by Arthur Ou, Hudson Franklin, New York, NY
2008 California Biennial—curated by Lauri Firstenberg, The Orange County Museum of Art, Newport Beach, CA/Estacion, Tijuana, Mexico (Ex. cat)
Signs of the Time, The Whitney Museum of American Art, New York, NY
The Light of the Virgo, China Art Objects Galleries, Los Angeles, CA
the sickness of the hunt, Musée d’Art Moderne et d’Art Contemporain, Nice, France (Ex. cat)
Word Event (After George Brecht), Kunsthalle Basel, Basel, Switzerland
Los Angeles Confidential—curated by Sandra Patron, Centre d’ Art Contemporain, San Léger, France
Open Sky, Kunstverein Medienturm, Graz, Austria
No Room, Christopher Grimes Gallery, Los Angeles, CA
When a clock is seen from the side it no longer tells the time, Johann Koenig, Berlin
Please Stay out We’re Open, Redling Fine Art, Los Angeles, CA
Recent Acquisitions, Museum of Contemporary Art Chicago, Chicago, IL
Facebook: Images of People in Photographs from the Collection, Frances Lehman Loeb Art Center, Poughkeepsie, NY
Past-Forward—curated by Vincent Honoré, Project Space 176, The Zabludowicz Collection, London, UK (Ex. cat)
Le Retour, Nice & Fit, Berlin, Germany
The Unfair, 1:1 Projects, Rome, Italy (Ex. cat)
2007
Recent Acquisitions, the Whitney Museum of Art, New York, NY
From a Distance—curated by Vincent Honore, Wallspace, New York, NY
Meanwhile in Baghdad, The Renaissance Society, Chicago, IL
I am Eyebeam—organized by Melanie Schiff and Lorelei Stewart, Gallery 400 at the University of Illinois at Chicago, Chicago, IL
Anything You Want: Walead Beshty, Anne Collier, Annette Kelm, Pump House Gallery, London, UK
88:88, The Project, New York, NY
Concrete Works, Mitchell-Innes & Nash, New York, NY
Radiant City, Cherry and Martin, Los Angeles, CA
Between Two Deaths—curated by Ellen Blumenstein and Felix Ensslin, ZKM, Karlsruhe, Germany’
Imaging & Imagining California, The Orange County Museum of Art, Newport, CA
The Trans-Aestheticization of Daily Life—curated by Peter Zellner, UCR Sweeney Gallery, Riverside, CA
The Backroom—curated by Magali Arriola, Kate Fowle and Renaud Proch, La Celda Contemporanea, Mexico City, Mexico
The Backroom—curated by Magali Arriola, Kate Fowle and Renaud Proch, Kadist Art Foundation, Paris, France
Secretariat—curated by Geof Oppenheimer, Aftermodern, San Francisco, CA
Out of Body, Level B Gallery, Deutsche Bank, New York, NY
Hammer Contemporary Collection Part I, Hammer Museum of Art, Los Angeles, CA
Spectral Evidence—curated by Steven Lam, The Rotunda Gallery, Brooklyn, NY
2006
Looking Back: The White Columns Annual—organized by Matthew Higgs, White Columns, New York, NY
The California Biennial, Orange County Museum of Art, Newport Beach, CA
Chaos or Control, Perloff Hall—curated by James Welling, UCLA School of Architecture Gallery, Los Angeles, CA
Dice Thrown (will never annul chance), Bellwether, New York, NY
Walead Beshty, David Korty, Jon Pylypchuk, Pae White, China Art Objects Galleries, Los Angeles, CA
Walead Beshty, Roe Etheridge, Philip Lorca-diCorcia, Stephen Shore, Christopher Williams, Galerie Rodolphe Janssen, Brussels, Belgium
Bringing the War Home—curated by Drew Heitzler, Elizabeth Dee Gallery (New York)/ QED (Los Angeles)
Studio City, Tel Aviv, Israel—curated by Efrat Shalem. Traveling to Pescali & Sprovieri, Tal Esther Gallery, London, UK
2005
The New City: Sub/Urbia in Recent Photography—curated by Christina Kukielski, The Whitney Museum of American Art, New York, NY
Champion Fine Art: 2003-2005—curated by Drew Heitzler and Flora Wiegmann, Art 2102, Los Angeles, CA
The Back Room—curated by Magali Arriola, Kate Fowle and Renaud Proch, Los Angeles, CA
Rub out the Word—curated by Michael Wilson, d.u.m.b.o. arts center, Brooklyn, NY
Gallery Exchange, (with China Art Objects Galleries), Bowie Van Valen, Amsterdam, The Netherlands
Precious Moments—curated by Josh Kline, Joymore, Brooklyn, NY
Post No Bills—curated by Matthew Higgs, White Columns, New York, NY
Bebe le Strange, D’Amelio Terras, New York, NY
Sugartown, Participant Inc., New York, NY
Bucolica, Wallspace, New York, NY
Walead Beshty, Sean Landers, Erlea Maneros, JP Munroe, and Andy Ouchi, China Art Objects Galleries, Los Angeles, CA
The ArtReview 25: Emerging US Artists—curated by Daniel Kunitz & Joao Ribas, Phillips, de Pury & Company, New York, NY
What Once Passed For Future or Landscapes of the Living Dead—curated by Magali Arriola, art2102, Los Angeles, CA
The February Show—curated by Chris Lipomi, Los Angeles, CA
Manufactured Self—curated by Natasha Egan, Museum of Contemporary Photography, Chicago, IL
2004
UPSTREAM: Idea Drawings—curated by Chris Lipomi, Hayworth Gallery, Los Angeles, CA
Inaugural Exhibition, Sandroni.Rey, Los Angeles, CA
Buy American—curated by Joe Scanlan, Galerie Chez Valentin, Paris, France
Cool Intentions—curated by Alex Israel, Sandroni.Rey, Los Angeles, CA
Katonah Museum of Art, Behind Closed Doors, Katonah, NY
Self-Evidence: Identity in Contemporary Art—curated by Rachel R. Lafo (Ex. cat), DeCordova Museum and Sculpture Park, Lincoln, MA
2003
Photography For People; For Us, Wallspace, New York, NY
Ad Hoc Artists Committee to End Israeli West-Bank Occupation, Knitting Factory, New York, NY
Anti-Social—curated by Mark Wyse, Wallspace, New York, NY
Control, Escape, Delete—curated by David Hilliard, Kansas City Society for Contemporary Photography, Kansas City, MO
Photo ID—curated by Titia Hulst, Pelham Art Center, Pelham, NY
CURATION
2007
There is Always a Background/CMYK, Curated project of magazine based works for Cabinet Magazine, Fall 2007.
2006
The Gold Standard, co-curated with Bob Nickas, P.S.1 Contemporary Art Center, Long Island City, NY
24 Hour Armageddon: A Cold War Slumber Party, Armand Hammer Museum of Art, Los Angeles, California. (In conjunction with Embassy!)
2005
Invisible Hands and The Common Good, Champion Fine Art, Los Angeles, CA. Participating Artists: Joe Scanlan, Stephen Shore, Kelley Walker, James Welling, Eric Wesley, and Carey Young
Pictures Are The Problem, Pelham Art Center, Pelham, NY. Participating Artists: Øystein Aasan, Shannon Ebner, Isa Genzken, Chris Lipomi, Erlea Maneros, Emily Newman, Jesse Reed, Martha Rosler, Erika Vogt, Kelley Walker, and Lawrence Weiner.
REVIEWS AND PUBLICATIONS
2010
Walead Beshty, Monograph, JRP Ringier, Zurich Switzerland
Walead Beshty, Pulleys, Cogwheels, Mirrors, And Windows Ex. cat. Unviersity of Michigan Museum of Art
Walead Beshty: American Abstracts, with essays by Hamza Walker and Brian Sholis, LAX ART Books.
2009
Moret, A., “Tastemakers,” Los Angeles Times, July 12, 2009
“Pictures Generation Roundtable: After Materiality and Style,” Art in America, April 2009.
Heiser, Jorg, “Tate Triennial 2009,” Frieze, April 2009.
Grafik, Clare, “Material World,” IANN, Volume 3, 2009.
Myers, Holly, “ever changeable, every surprising,” The Los Angeles Times, April 3, 2009.
“Walead Beshty,”The New Yorker, Goings on About Town, March 30, 2009.
Kerr, Merrily, “Walead Beshty ‘Popular Mechanics,” Time Out New York, March 26 – April 1, 2009.
Crist, Steve, ed. Contact Sheet, Los Angeles: AMMO Books, 2009.
Rexler, Lyle, The Edge of Vision: The Rise of Abstraction in Photography, Aperture Books, 2009.
Zuckerman Jacobson, Heidi, “Pay Attention Mother Fuckers,” Now You See It, Aspen: Aspen Art Press, December 2008.
Bourriaud, Nicolas, ed. Altermodern: The 2009 Tate Triennial, London, Tate Publishing, February 2009.
Grabner, Michelle, “Meanwhile, in Baghdad…and Black Is, Black Ain’t,” X-TRA Contemporary Art Quarterly, Volume 11 No. 2, Winter 2009.
Bernard, Etienne, “Walead Beshty,” Zero Deux, Issue 48, Winter 2009.
Cotton, Charlotte, The Photograph as Contemporary Art, London: Thames & Hudson, Fall 2009 (revised edition).
2008
Jeffrey Kastner and Sina Najafi, eds., The Book of Stamps, New York: Cabinet Books, August, 2008.
Menzies, Michelle, “James Welling/Walead Beshty,” Flash Art International, Issue No. 263, November 2008.
California Biennial 2008, Newport Beach: Orange County Museum of Art, October 2008.
Tumlir, Jan, “Walead Beshty Piece by Piece,” Aperture 192, Fall 2008.
Bedford, Christopher, “Walead Beshty at China Art Objects,” Art in America, May 2008.
Mansoor, Jaleh, “Matters that Matter: On the Whitney Biennial,” Texte zur Kunst, Issue Number 70, June , 2008.
Baker, Kenneth, “Review: Highlights from 2008 Whitney Biennial,” San Francisco Chronicle, March 22, 2008.
Gopnik, Blake, “10 Others to Seek Out at the Whitney Biennial,” The Washington Post, Friday, March 7, 2008.
Bryant, Eric, “The Indecisive Image,” ARTnews, March 2008. (cover).
Machida, Nico, “A Look at Walead Beshty,” Artslant, January – February, 2008.
Miles, Christopher, “Gallery Roundup,” January 23, 2008.
Buckley, Annie, “Critics’ picks: Walead Beshty,” Artforum.com, January – February 2008.
2007
Momin, Shamim M., ed. Six Impossible Things Before Breakfast. Spain: Centro Montehermoso, November, 2007.
Coomer, Martin, “Anything You Want,” Time Out London, August 31, 2007.
“Concrete Works,” The New Yorker, July 9,16, & 23, 2007.
Schwendener, Martha, “Concrete Works,” The New York Times, Art in Review, July 6, 2007.
Ellen Blumenstein & Feliz Ensslin (ed.): between two deaths, (ex. cat), Ostfildern: Hatje Cantz, 2007.
Cotter, Holland, “Art in Review: Spectral Evidence,” Art in Review, The New York Times, February 23, 2007
Cole, Lori, "Critics' Pick: Spectral Evidence," Artforum.com, February 2007.
Hart, Hugh, “Hammer Struts its Recent Stuff,” Los Angeles Times,” January 14, 2007.
2006
Smith, Roberta, “Menace, Glitter and Rock in Visions of Dystopia,” The New York Times, Art Review: P.S.1, December 29, 2006.
Cotter, Holland, “Looking Back: White Columns Annual,” The New York Times, Art in Review, December 1, 2006.
Velasco, David, “Walead Beshty,” Artforum, December 2006.
Wulffson Goodell, Jennifer, “Place, Process and Passage,” X-TRA Contemporary Art Quarterly, Volume 9 Issue 2, Winter 2006.
Mummolo, Jonathan, “Exhibitions: A Museum Gold Rush,” Newsweek, October 30, 2006
Schmidt, Kirsten, “Poetic Vision and Abundant Culture,” NY Arts Magazine, September/October 2006.
Molon, Dominic, “Walead Beshty,” Vitamin PH, New York: PhaidonPress, 2006. “Walead Beshty,” The New Yorker, October, 2006
Knight, Christopher, “The Faces of this Place,” The Los Angeles Times, October 7, 2006.
Chang, Aimee, “Walead Beshty,” The California Biennial, (Ex. cat) Newport Beach: Orange Country Museum of Art, October 2006.
Bedford, Christopher, “Museum Previews: The California Biennial,” Artforum, October 2006.
Kushner, Rachel, “California’s Rising Art Stars,” C, October 2006.
Molon, Dominic, “Walead Beshty,” Vitamin PH, New York: PhaidonPress, 2006.
Ribas, Joao, “Photography’s Digital Divide,” Art Info, October 17, 2006.
O’Reilly, Sally, “Studio City,” Frieze, Issue 100, June-July, 2006.
Bedford, Christopher, “Critics’ Picks: Walead Beshty,” Artforum.com, May, 2006.
Molon, Dominic, “Walead Beshty,” Vitamin PH, New York: Phaidon Press, 2006.
Ackley, Brian, “Exhibition Review: Whitney Museum of American Art”, Bidoun, Winter 2006.
Sumpter, Helen, “Exhibition Review: Studio City at Pescali & Sprovieri”, Time Out London, March 29- April 5, 2006.
Balaschak, Christopher, “Exhibition Review: Walead Beshty at China Art Objects” Frieze, January-February Issue, 2006.
Firstenberg, Lauri, “Exhibition Review: The Backroom”, Frieze, January-February Issue, 2006.
2005
“The New City: Sub/Urbia in Recent Photography,” The New Yorker, October 3, 2005
Arriola, Magali, “A Victim and a Viewer: Some Thought on Anticipated Ruins,” Afterall, Issue 12, Fall 2005
Wilson, Michael, “Post No Bills,” Artforum, XLV Vo. 2, October 2005
Snow, Jennifer, “The Very Best of the Fall Arts Season: The New City: Sub/Urbia in Recent Photography,” The Village Voice, September 12 – 18, 2005
Davis, Ben, “August Company,” Artnet Magazine, August 26, 2005
Cotter, Holland, “Art Listings: Precious Moments,” The New York Times, August 19, 2005
Cotter, Holland, “Fanciful to Figurative to Wryly Inscrutable,” The New York Times, July 8, 2005
Daniel Kunitz & Joao Ribas. "The ArtReview 25: Emerging US Artists," ArtReview, April 2005
Scanlan, Joe, “First Take: Walead Beshty” Artforum, January, 2005
Ekardt, Philipp. “The Phenomenology of Fondling: Shopping,” NY Arts, Vol. 10 No. 1/2, January/February, 2005
2004
Kastner, Jeffrey. “Exhibition review of ‘The Body-Body Problem,’” Artforum, December, 2004
Ribas, Joao. “The Faces of the Future,” ArtReview, International Edition (V2N7), p.87
Aletti, Vince. The Village Voice, “Voices Choices,” October 6 – 12, 2004
“P.S.1 Contemporary Art Center: Walead Beshty,” The New Yorker, “Goings on About Town,” September 6, 2004
Smith, Roberta. “Art Guide: P.S.1 Contemporary Art Center *recommended”, The New York Times, July 23, 2004, p. E32
Smith, Roberta. “Art Review: Summertime at P.S.1: Where Opposites Like Hands On/Hands Off Attract,” The New York Times, July 16, 2004, p. E28
Smith, Joel, “Curators Choice: Walead Beshty, Absent Self-Portrait #3 (Age Progressions)”, Art at Vassar, Spring 2004
Selbach, Gérard. “Buy American,” Paris-Art.com, April 24, 2004
Meyers, Holly. “Review: Cool Intentions,” The Los Angeles Times, February 27, 2004
Silver, JoAnne. “Visual Arts; Contemporary Self-Portraits Echo Life Views at DeCordova,”The Boston Herald, February 13, 2004
Hopkins, Randi. “Showing I.D.—‘Self-Evidence’ at the DeCordova, ‘Spiritual Geometry’ in Newton, and ‘Traveling Scholars’ at the MFA,” The Boston Phoenix, January 30 – February 5
2003
Aletti, Vince. “Listings (Recommended*),” Village Voice, February 19th and 26th
Smith, Joel. “Walead Beshty,” The Vassar Recent Acquisition Newsletter, 2003
Lafo, Rachel Rosenfeld. Self Evidence: Identity in Contemporary Art, Ex Cat.
Lombardi, D. Dominic. “Armed With Cameras, Seeking Different Types of Truth,” The New York Times, March 30
Robinson, Walter. “Weekend Update,” Artnet.com, February 3rd
PUBLIC COLLECTIONS
The Armand Hammer Museum, Los Angeles, CA
The Francis Lehmann Loeb Art Center, Poughkeepsie, NY
FRAC Nord – Pas de Calais, Dunkerque, France
The Henry Art Gallery, Seattle, WA
The Hirshhorn Museum and Sculpture Garden, Washington D.C.
The Guggenheim Museum, New York, NY
The Miami Museum of Art, Miami, FL
The Museum of Contemporary Art, Chicago, IL
The Museum of Modern Art, New York
The Orange County Museum of Art, Newport, CA
The Neuberger Berman Art Collection, New York, NY
The University of Michigan Museum of Art, Ann Arbor, MI
The Victoria and Albert Museum, London, UK
The Whitney Museum of American Art, New York, NY
ESSAYS
On the Ground: Los Angeles, Artforum, December 2008.
Parallax View on Michael Asher at the Santa Monica Museum of Art, Text zur Kunst, Issue Nr. 70, May 2008.
Abstracting Photography, Words Without Pictures, October 16, 2008.
Absolu Avec Vache (and the Spectre of the Gun), Exhibition catalogue for Material Presence at Project Space 176, London, September 2008.
Tell it Like it Was (A Brief Note on the Appropriation of Radicality), Art on Paper, January/February 2007.
Wolfgang Tillmans, Texte zur Kunst, November, 2006.
In Their Own Words: Walead Beshty, New York Foundation for the Arts website, July 2006. www.nyfa.org
L.A. Material: James Welling and Walead Beshty in Conversation, North Drive Press, Issue 3, 2006.
How to Take In Sculpture; Jan Timme at Marc Foxx, Texte zur Kunst, May 2005 (German, English)
Annette Kelm’s Discrete Cosmologies, ex cat. Hamburger Kunstverein.
The Colossus: The Remains of the Triumph Arch in Berlin (with Eric J. Schwab), Cabinet, Fall 2005. (English)
Toward an Empathic Resistance: Boris Mikhailov’s Embodied Documents, Afterall, Issue 12, Fall 2005. (English)
The Neo Avantgarde and the Service Industry: The Brave New World of Relational Aesthetics, Texte zur Kunst, September 2005. (German)
Piracy at the Docks, ex cat. Invisible Hands and the Common Good, Champion Fine Art, 2005. (English)
Preview of Stephen Shore’s American Surfaces, Artforum, September, 2005. (English)
Reflecting the Canon: Some notes on Tim Davis’ Materialist Contingencies, Tim Davis: Permanent Collection (Monograph), Nazarelli Press, New York NY, Fall 2005. (English)
The Discrete Tastes of the Bourgeoisie: Erlea Maneros’ Temporal Painting, Meanwhile, in Another Place…, Rekalde, Bizkaiko Foru Aldundia, Bilbao, Spain, Ex Cat. Spring 2005. (English, Basque, Spanish)
Rachel Harrison at SFMoMA, Art Review, March 2005. New York, NY. (English)
Wilkommen in Irak: images from the former Iraqi Embassy in the former DDR (with Eric J. Schwab), Cabinet Magazine, Fall 2004. Brooklyn, New York. (originally published in Bidoun, Issue 00, Spring 2004. Dubai, Paris, and New York.) (English)
Guilt by Association: Mike Kelley’s “Street Credibility” at MoCA, Aperture Magazine, Issue 176, August 2004. New York, New York. (English)
Subject Without Qualities: from the cowboy flanéur to Mr. Smith, Afterall, Issue 8, November 2003. Los Angeles, California/London, UK. (English)
Das Reale an der Rückholfeder: Die Fotografieausstellung “Cruel & Tender” in der Tate Modern, London, Texte zur Kunst, Issue 51, September 2003. Berlin, Germany. (German)
City Without Qualities: Photography, Cinema, and the Post-Apocalyptic Ruin, Influence magazine, Issue 1, October 2003. New York, New York. (English)
Reprint: Site Journal, Spring 2004. Stockholm, Sweden (English, Swedish). Trouble Journal, Spring 2005. Paris France. (French)
Tim Davis: Permanent Collection, The Bardian, Fall 2003. New York, New York. (English)
Uncommon Places Revisited: the Unpublished Work of Stephen Shore, Artforum, May 2003. New York, New York. (English)
“Three Models of Collaboration: Ethics and Context in the work of Sarah Martin, Pierre Huyghe, and Trent Harris,”(2002) delivered as a visiting lecturer at Hampshire College, January, 2003.
“Beauty and The Market: Questioning the Rhetoric of Art School,” (2002). Paper delivered as panel member: Yale University, Graduate Student Symposium, 2002.
Grey Room, Issue 1, Fall 2000, M.I.T. Press (photographs only)
WALEAD BESHTY lives and works in Los Angeles, CA