Walead beshty biography of nancy

  • A catalogue of Beshty's work called Natural Histories, a collaboration between a museum in Malmo, Sweden, and another in Madrid.
  • For artist Walead Beshty, a chair is not just a chair, and a desk, not just a desk—even if it belongs to gallery owner Friedrich Petzel.
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    Issue 38 November

    (Re)claiming Sanctity

    Harmony Holiday’s
    Black Backstage
    —Shameekia Shantel Johnson

    To Live and Work in L.A.

    The Recent Rise of
    Alternative Art Spaces
    —Keith J. Varadi

    Collective Memory and
    Coded Histories at the 60th
    Venice Biennale

    Interview with
    Andra Nadirshah and
    Stevie Soares

    Michael Oxley Wants
    to Show You Something

    Photography & Interview:
    Brandon Tauszik

    Reviews

    Jordan Strafer
    at the Hammer Museum
    —Laura Brown

    Keith Mayerson
    at Karma
    —Alexander Schneider

    Robert Andy Coombs
    at ONE Archives
    at the USC Libraries
    —Philip Anderson

    Tamara Cedré
    at the California
    Museum of Photography
    —April Baca

    Dogs & Dads
    at Diane Rosenstein
    —Aaron Boehmer

    (L.A. in São Paulo)
    Catherine Opie
    at Museu de Arte
    de São Paulo
    —Mateus Nunes

    Issue 37 August

    Sirens in New Pitches

    Immersive Art and Violence
    —Isabella Miller

    The Connective Role
    of Art in UCLA’s
    Pro-Palestine Encampment

    —Aida
  • walead beshty biography of nancy

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    Futuristic, Freaky, and Fetishized, Machines Take Over in New Show at Petzel

    For artist Walead Beshty, a chair is not just a chair, and a desk, not just a desk—even if it belongs to gallery owner Friedrich Petzel. The artist recently organized an exhibition, “A Machinery for Living,” opening July 2 at Petzel&#;s Chelsea gallery, which hijacks the dealer&#;s desk out of his office and into the gallery&#;s 18th Street space.

    With artworks that span the last hundred years, by artists as diverse as Liam Gillick, Franz West, Helen Pashgian, Josiah McElheny, Claire Fontaine, Lewis Baltz, Kelley Walker, Jan Groover, Lee Lozano, and Superstudio, Beshty has curated a show that&#;s at times conceptual and serious, at others visceral and quirky, and at once retrospective but forward-thinking.

    In addition to commandeering Petzel&#;s desk (which will serve as a stand for mannequins clothed by Atelier EB) for the exhibition, the show is saturated with images from daily

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    Walead Beshty

    I&#;ve just done a review for Source&#;very short&#;of a catalogue of Beshty&#;s work called Natural Histories, a collaboration between a museum in Malmo, Sweden, and another in Madrid.  I didn&#;t have enough space to give examples, or do any kind of speculation, and inom regretted that.  It seems like work to &#;talk&#; to, rather than to review.  I can imagine a situation in which one individ talks or writes and another fryst vatten making things, and they go back and forth, egg each other on.  Anyway this work seemed like a gentle and respectful dissenting voice&#;against most of what most of us accept about photography most of the time.  In fact it seemed to &#;frame&#; that belief rather well: he&#;s troubled by our willingness to accept photography as an abstraction; he wants to show it to us again,  as something very concrete, meaningful in a specific context.  It&#;s klar, honest, and salutary.  And sometimes visually &#;eloquent&#; as well.