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Large color photographic print with stripes in blue, pink, red, and white. There is a hand print in the center of the upper third of the print.

Walead Beshty

Cross-Contaminated RA4 Contact Print [Black Curl (9:6/MYC/Six Magnet: Los Angeles, California, May 6, 2014, Fujicolor Crystal Archive Super Type C, Em. No. 107-016, 64514), Kreonite KM IV 5225 RA4 Color Processor, Ser. No. 00092174]

2014

color photographic print

Framed Dimensions:

117.99 x 51.38 inches

299.7 x 130.5 cm

Image Dimensions:

116.42 x 50 inches

295.7 x 127 cm

$60,000

5 copper etched plates with varying marks and text.

Walead Beshty

Body Print (Coxa and Attending Soft Tissues, Right Dorsum, Amphetamine Salts 10 mg Tablet, Valsartan 160 mg Tablet, Citalopram HBr 20 mg Tablet)

2017

Etched copper-clad FR-4 glass-reinforced epoxy laminate board

Each: 

12 x 8 inches

30.5 x 20.3 cm

$20,000

5 copper etched plates with varying marks and text.

Walead Beshty

Body Print (Azithromycin 250 mg Dose Pack, Lorazepam 1 mg Tablet, Metronidazole Topical 0.75% GL, Lower Rib Cage and Attending Soft Tissues, Left Metacarpophalangeal Joint and Attending Soft Tissues)

2017

Etched copper-clad FR-4 glass-reinforced epoxy laminate board

Each: 

12 x 8 inches

30.5 x 20.3 cm

$20,000

Framed color photographic paper piece with yellow and green on a dark black background.

Walead Beshty

Three Sided Picture (YBR), January 6, 2007, Santa Clarita, California, Fuji Crystal Archive Type C

2020

Color photographic paper

14 x 11 inches

35.6 x 27.9 cm

$10,000

Framed color photographic paper piece with yellow and green on a dark black background.

Walead Beshty

Three Sided Picture (YBR), January 6, 2007, Santa Clarita, California, Fuji Crystal Archive Type C

2020

Color photographic paper

14 x 11 inches

35.6 x 27.9 cm

$10,000

Concave steel surrogate in two panels. The first panel curves in and the second panel curves out.

Walead Beshty

Steel Surrogates (48” x 120” 16 Gauge 304 Stainless Steel Alloy, Convex Curve / 48” x 120” 16 Gauge 304 Stainless Steel Alloy, Concave Curve)

2019

Stainless steel

24 x 33 inches

61 x 83.8 cm

Each

Diptych

Edition 1/5, 1

$50,000

Rectangular copper surrogate with lots of marks on it from where desk was touched and worked on.

Walead Beshty

Desk [Source: wood and leather desk designed by BassamFellows from the office of Friedrich Petzel at Friedrich Petzel Gallery, New York. Surrogate: WB72414 (produced in conjunction with Friedrich Petzel, Owner), Copper Surrogate (designed by BassamFellows, 456 West 18th Street, New York, New York, June 26–October 4, 2014), conceived in 2013, produced in 2014, made of polished copper and powder-coated steel with the dimensions 33 1/2 x 72 x 1 1/2 inches. Production completed by Benchmark Scenery Incorporated, Glendale, California from 48 ounce Electrolytic-Tough-Pitch C11000 Copper Alloy cut from 60 x 120 inch mirror-polished sheet and 24 ounce Electrolytic-Tough-Pitch C11000 Copper Alloy cut from 60 x 120 inch mirror-polished sheet, with formed corners where necessary, copper plated hardware, perimeter edge French cleat system, and separate black powder-coated steel support structures. $12,076.00 production cost including travel and storage crates with floating lockable cleat system. Unexposed surrogates shipped by Crate 88 Incorporated from Los Angeles to New York, June 19 through June 23, 2014. Installed in place of BassamFellows desk at 456 West 18th Street, New York on June 26, 2014, exposure through the duration of A Machinery for Living organized by Walead Beshty and Walead Beshty: Performances Under Working Conditions at Friedrich Petzel Gallery, New York, closing October 4, 2014. Desk has one base surrogate with the dimensions 28 1/2 x 71 5/8 x 33 1/2 inches.]_

2014

Polished copper table top and powder-coated steel

33.437 x 72 x 1.5 inches

84.9 x 182.9 x 3.8 cm

Table base:

28.5 x 72 x 33.5 inches

72.4 x 182.9 x 85.1 cm

$100,000

Rectangular canvas with deep blue vertical and horizontal lines.

Walead Beshty

Marginalis (Los Angeles, California, August 1-30, 2013)

2016

Cyanotype chemistry on canvas

55 x 92.5 x 1.5 inches

139.7 x 235 x 3.8 cm

New York Times collage where the top layer of the front page is cut away in concentric circles to reveal a pink page underneath.

Walead Beshty

Blind Collage (Three 180º Rotations, The New York Times, Friday, October 18, 2019)

2019

Newspaper, tape, and 22 karat gold leaf

39 3/8 x 31 1/2 x 1 1/2 inches

100 x 80 x 3.8 cm

$15,000

New York Times collage where the top layer of the front page is cut away in concentric circles to reveal a dark page with a jewelry advertisement underneath.

Walead Beshty

Blind Collage (Three 180º Rotations, The New York Times, Thursday, October 17, 2019)

2019

Newspaper, tape, and 22 karat gold leaf

39 3/8 x 31 1/2 x 1 1/2 inches

100 x 80 x 3.8 cm

$15,000

New York Times collage where the top layer of the front page is cut away in concentric circles to reveal a Cartier advertisement underneath.

Walead Beshty

Blind Collage (Three 180º Rotations, The New York Times, Friday, October 11, 2019)

2019

Newspaper, tape, and 22 karat gold leaf

39 3/8 x 31 1/2 x 1 1/2 inches

100 x 80 x 3.8 cm

$15,000

 

 

"I WAS INTERESTED IN MAKING WORK THAT PHYSICALLY CHANGED AS IT CIRCULATED THROUGH THE ART WORLD. WHAT IF YOU COULD PUT THE ENTIRE SYSTEM INTO THE OBJECT?"

Portrait of Walead Beshty sitting in a desk chair with two giant curl pieces hanging on the walls behind him.

Photographed by Rob Kulisek

Walead Beshty (b. 1976, London, U.K.) studied at Bard College and received his MFA from Yale University in 2002. He has held academic positions at th University of California, Los Angeles; Bard Collece, Annandale-on-Hudson, NY; the Art Institute of Chicago, IL; and recently at the Art Center of Design, Pasadena, CA.

Beshty explores the ways in which objects accrue and produce meaning through their placement and circulation in the world. This is none more apparent than in his “Copper Surrogates” series. For Petzel’s 2014 exhibition, Beshty created polished raw coper sculptures built to the dimensions of the gallery’s work surfaces, for example, Friedrich Petzel’s coffee table. As the gallery staff resumed their daily routines, their movements tarnished a patina onto the surfaces. The copper surrogates were to map the progression of the gallery staff’s immaterial labor.

Conversely, Beshty’s “Steel Surrogates” are not intended to be handled without gloves. The curvature of each piece of steel mimics the curve of the human eyeball, creating a strange sensation in depth perception for the viewer.

The Black Curls are photograms made from curling sheets of color photographic paper on a metal wall. The paper is unrolled approximating the reach of the artist’s body with his arms outstretched, and is then cut, placed on the wall, and supported with the magnets. As the paper is larger than the darkroom wall can accommodate, it must be curled and bowed in order to fit the exposure field. Using a photographic enlarger, the paper is exposed to each of the primary subtractive colors (cyan, magenta and yellow) in succession and the bands of color act as an index of the network of tensions within the printing process. In the case of these Cross-Contaminated Curls, the handprints are evidence of the processor jamming while the photograph is in the fixative bath.

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