Walead Beshty Biography
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Bortolami Gallery
BORTOLAMI Tom Burr (b. 1963 in New Haven, Connecticut) Lives and works in New York, NY Education 1987-8 Whitney Independent Study Program, New York, NY 1986 School of Visual Arts, New York, NY Residencies/Teaching 2009-10 Critic in Sculpture, Yale University, New Haven, CT 2010 Artist in Residence, Randolph Cliff, Edinburgh College of Art, Scotland Selected Solo Exhibitions 2020 Fondazione Converso, Milan, Italy (Forthcoming) 2019 Hélio-Centricities, Auroras, São Paulo, Brazil Hinged Figures, Wadsworth Atheneum Musuem of Art, Hartford, CT Hélio-centricities: coda, Escola De Artes Visuais Do Parque Lage, Rio de Janeiro, Brazil 2018 Sedimental, SCAD Museum of Art, Savannah, GA No Access, SCAD Museum of Art, Savannah, GA 2017 Tom Burr/New Haven, Bortolami Gallery, New Haven, CT Stages, Maureen Paley, London, England Surplus of Myself, Westfälischer Kunstverein, Münster, Germany Abridged, Galerie Neu, Berlin, Germany 2016 Grips, Sommer Contemporary Art, Tel Aviv, Israel Put Down, piece*unique, Cologne, Germany 2015 Circa, Bortolami Gallery, New York, NY Ull Hohn and Tom Burr, Peep-Hole, Milan, Italy 2014 Notes on Camp, curated by vienna: The Century Bed, Vienna, Austria Drunk Emily, Galleria Franco Noero, Torino, Italy Tom Burr. Screen, Center for Curatorial Studies and Hessel Museum of Art at Bard College (CCS Bard), Annandale-on-Hudson, NY 2013 Dressage, Parcours, Art Basel, Basel, Switzerland Stuart Shave/Modern Art, London, United Kingdom 39 WALKER STREET NEW YORK NY 10013 T 212 727 2050 WWW.BORTOLAMIGALLERY.COM BORTOLAMI 2012 Cloud in -
Dream Location
PRESENTATION HOUSE GALLERY DREAM LOCATION DREAM LOCATION WALKER EVANS RUNA ISLAM ERNST LUDWIG KIRCHNER ELAD LASSRY SIGMAR POLKE GERHARD RICHTER CURATED BY STEPHEN WADDELL JANUARY 25 TO MARCH 9, 2014 Dream Location begins with the photo essay Unposed Portrait, an editorial oddity published amidst the adver- tisements for perfume, Dior and Bergdorf Goodman in a 1962 issue of Harper’s Bazaar. The essay comprises a series of black and white portraits of New York City subway riders by the photographer Walker Evans, along with the following text: The crashing non-euphoria of New York subway life may someday be recorded by a modern Dickens or Daumier. The setting is a sociological gold mine awaiting a major artist. Meanwhile, it can be the dream ‘location’ for any portrait photographer weary of the studio and the horrors of vanity. With Unposed Portrait, Evans sought to subvert the af- firmative demands typically made of photography, and consider the ways in which experience and its depiction have motivated artists. His subway pictures—taken between 1938 and 1941 in the close, uncontrollable setting of the metro—developed into a provisional, unfinished series of works that provided him a new way of thinking about portraiture and the documentary im- pulse, as well as a ‘dream location’ for experimentation. Published 20 years later in the context of Harper’s, these works appear as a surreptitious intervention within the commercial confines of the magazine, standing in sharp contrast to the kind of editorial aesthetic that Evans himself helped make recognizable decades earlier. These photographs reveal a rupture in how pictures are made and encountered that was unimaginable to audiences at the time. -
The Bma to Open Solo Exhibitions of Works by Contemporary Artists Sharon Lockhart, Tschabalala Self, and Lisa Yuskavage in March 2021
THE BMA TO OPEN SOLO EXHIBITIONS OF WORKS BY CONTEMPORARY ARTISTS SHARON LOCKHART, TSCHABALALA SELF, AND LISA YUSKAVAGE IN MARCH 2021 Museum Also Announces Update to Tour Schedule for Joan Mitchell Retrospective BALTIMORE, MD (February 1, 2021)—The Baltimore Museum of Art (BMA) today announced details for three solo exhibitions opening in its Contemporary Wing on March 28, 2021. Sharon Lockhart: Perilous Life; Tschabalala Self: By My Self; and Lisa Yuskavage: Wilderness present key works by each artist that explore central and recurrent themes in their art. The exhibitions are part of the BMA’s 2020 Vision, an initiative to provide greater recognition for female- identifying artists and leaders that has been extended into 2021 following pandemic-related closures last year. The presentations are slated to remain on view through September 19, 2021. Katharina Grosse’s immersive site-related environment, Is It You? (2020), which opened in March 2020, will remain on view in the central gallery of the Contemporary Wing through that date as well. The museum also announced today a change in the tour schedule for the much-anticipated Joan Mitchell retrospective. The exhibition, which was slated to open at the BMA in March 2021, will now premiere at the San Francisco Museum of Modern Art (SFMOMA) on September 4, 2021 and remain on view there until January 17, 2022. It will then travel to the BMA, where it will be on view from March 6 through August 14, 2022. The 2020 Vision Contemporary Wing exhibitions are generously sponsored by BGE, Constellation, and Exelon. Admission is free for each of the exhibitions. -
Biography Elad Lassry
Biography Elad Lassry Tel Aviv, Israel, 1977. Lives and works in Los Angeles. SOLO EXHIBITIONS 2020 2020 - Elad Lassry, SF Moma, San Francisco, USA 2019 2019 - Elad Lassry, 303 Gallery, New York, USA 2018 2018 - Elad Lassry, curated by Xavier Franceschi, Frac île‑de‑France, Paris, F 2018 - Le Plateau, Paris, F None 2017 2017 - Solo Show, Galerie Francesca Pia, Zürich, CH 2017 - Elad Lassry, curated by Jef Wall, Vancouver Art Gallery, Vancouver, CDN 2016 2016 - Systematically Open?, LUMA Foundation, Arles, F 2015 2015 - Elad Lassry, Massimo De Carlo, Milano, I 2015 - Elad Lassry, David Kordanski Gallery, Los Angeles, USA 2014 2014 - Sensory Spaces 3, Museum Boijmans van Beuningen, Rotterdam, NL 2013 2013 - Elad Lassry, Galerie Francesca Pia, Zürich, CH 2013 - Elad Lassry, 303 Gallery, New York, USA 2012 2012 - Elad Lassry, Kunstnernes Hus, Oslo, N 2012 - Elad Lassry, Rathole Gallery, Tokyo, J 2012 - Elad Lassry, PAC Padiglione d'Arte Contemporanea, Milano, I 2012 - Elad Lassry, David Kordansky Gallery, Los Angeles, USA 2012 - Elad Lassry: Untitled (Presence), Te Kitchen, New York, USA 2012 - Elad Lassry, White Cube , Hong Kong, HK 2011 2011 - Elad Lassry, Francesca Pia, Zürich, CH 2011 - Elad Lassry, White Cube, London, UK 2011 - Elad Lassry, Tramway, Glasgow, UK 2010 2010 - Kunsthalle, Zürich, CH 2010 - Elad Lassry, Massimo De Carlo, Milano, I 2010 - Elad Lassry: Sum of Limited Views, Contemporary Art Museum, St. Louis, USA 2010 - Elad Lassry, Luhring Augustine, New York, USA 2009 2009 - David Kordansky Gallery, Los Angeles, USA 2009 -
KARL HAENDEL & JAY Defeo
KARL HAENDEL & JAY DeFEO: PINK CUP AND THE FACTS September 12 – October 14, 2017 1018 Madison Avenue, New York Opening Reception: Tuesday, September 12, 6-8 pm NEW YORK, August 15, 2017 – Mitchell-Innes & Nash is pleased to announce Pink Cup and The Facts, a two- person exhibition of works on paper by Karl Haendel and Jay DeFeo, on view at 1018 Madison Avenue from September 12 through October 14. The exhibition highlights the importance of drawing in each artist’s practice as well as the varied potential of the medium itself. This will be the gallery’s second exhibition of each artist and the first time the two artists will be exhibited together. The exhibition is an exploratory dialogue between the work of two artists dedicated to the particularities of making drawings. In the process of forming the exhibition, Karl Haendel traveled from Los Angeles to The Jay DeFeo Foundation in Berkeley to spend time immersed in Jay DeFeo’s drawings, examining the range of marks, evidence of pencil hardness, effect of varied pressure, composition, and diverse subject matter in DeFeo’s work, communing with those details through the lens of his own deep experience with the medium. Along with her dexterity across diverse mediums, including painting, photography, photocopy, and collage, Jay DeFeo (1929-1989) consistently devoted herself to meditative and labor-intensive graphite works on paper. The familiar and iconic forms in DeFeo’s oeuvre appear across subject matters and periods, including works from the Tripod, Pink Cup, Compass, and Reflections of Africa series, in which DeFeo found meaning in the studied repetition of a transmuted form over many years. -
Rona Pondick: the Metamorphosis of an Object at Worcester Art Museum
IMMEDIATE RELEASE MEDIA CONTACT: Allison Berkeley Manager of Marketing and Public Relations [email protected] 508.799.4406 x3073 RONA PONDICK: THE METAMORPHOSIS OF AN OBJECT AT WORCESTER ART MUSEUM Internationally renowned contemporary artist featured in solo exhibition WORCESTER, Mass. (March 12, 2009) – Rona Pondick: The Metamorphosis of an Object opens at the Worcester Art Museum on April 18, 2009 and is on view through October 11, 2009. Rona Pondick Muskrat 2005 H: 10 inches (25.40 cm) W: 12 ½ inches (31.75 cm) D: 4 5/8 inches (11.68 cm) Since achieving international prominence in the early 1990s, Rona Pondick (b. 1952) has become one of the most accomplished sculptors of her generation. Over the past decade, she has combined both ancient sculptural methods and the latest computer technologies to produce a powerful group of hybrid sculptures that fuse human and animal bodies or human and flora forms. Unlike other considerations of her sculpture, this exhibition presents Pondick’s art as the lens for looking at centuries of world sculpture from the collection of the Worcester Art Museum that she feels resonate with her own creative process. Provocative juxtapositions of Pondick’s hybrids with a personal selection of historic sculptures illustrate her connections to the past and her understanding of the effects of artistic cross-fertilization. The exhibition features 14 examples of Pondick’s sculptures from the past decade and focuses on her particular interest in three aspects of sculpture—the communicative capacity of gesture and posture, the treatment of hair, and the effects of repetition. Exhibition Catalogue A catalogue for this exhibition, written by WAM Curator of Contemporary Art, Susan A. -
Walead Beshty
[email protected] — WWW.RODOLPHEJANSSEN.COM 1/20 Walead Beshty Biography Born 1976, London, United Kingdom Lives and works in Los Angeles Education 2002 MFA, Yale University School of Art, New Haven, CT 1999 BA, Bard College, Annandale-on-Hudson, NY Solo Exhibitions 2015 - Walid AlBeshti, Regen Projects, Los Angeles, CA USA - Insitute fo Fine Arts, New York University, NY - Disponible, Travesia Cuatro, Guadalajara, Mexico 2014 - Gastarbeiten, Capitain Petzel, Berlin, Germany - A Partial Disassembling of an Invention Without a Future: Helter-Skelt er and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench, The Barbican Center, Lon don, UK - Performances Under Working Conditions, Petzel, New York, NY - Thomas Dane Gallery, London, UK - Selected Bodies of Work, Regen Projects, Los Angeles, CA 2013 - Fair Use, The Power Station, Dallas, TX - Walead Beshty, Le 8 rue Saint-Bon, Paris, France 2012 - Travel Pictures, Thomas Dane Gallery, London, UK 2011 - PROCESSCOLORFIELD, Regen Projects, Los Angeles, CA - A Diagram of Forces, Malmö Konsthall, Malmö, Sweden / Centro de Arte Dos de Mayo, Madrid, Spain - Securities and Exchanges, Ullens Center for Contemporary Art, Beijing, China - Diapositives, Galerie Rodolphe Janssen, Brussels, Belgium [email protected] — WWW.RODOLPHEJANSSEN.COM 2/20 2009 - Legibility on Color Backgrounds, Hirshhorn Museum and Sculpture Gar den, Washington, DC - Pulleys, Cogwheels, Mirrors, and Windows, University of Michigan Muse um of Art, Ann Arbor, MI (Ex. cat) -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Download Press Release
MARC STRAUS NEW YORK RONA PONDICK Opening Reception: October 24, 2018, 6:00pm – 8:00pm On View: October 24 - December 16, 2018 MARC STRAUS is pleased to present our inaugural solo exhibition of Rona Pondick, featuring a new body of work five years in the making. Pondick’s new works feature semi-transparent clear blocks encasing her head rendered in brilliant contrasting color. The heads appear in various orientations, sometimes even floating partway out of their evanescent domain. The blocks have subtle contours and worked edges, paying fealty to the sculptor’s hand. They are made from resin, acrylic and an epoxy modeling compound; new materials for Pondick who experimented endlessly to achieve a harmony of form, color, and emotional depth. One indelible quality of the new work is the use of sonorous color. Each work features a dominant hue and no more than four different colors, for which Rona Pondick, Encased Yellow, 2015-2017 the work is titled. These are intimate and yet powerful works that shift with Pigmented resin and acrylic 10 1/16 x 11 3/8 x 11 1/2 in (25.6 x 28.9 x 29.2 cm) our positioning. In the floor pieces, Pondick’s head is atop a small body-like form. In Curly Grey (2016-2018) a head with texture so much like skin, rests upon a mass that looks as if it is made of jumbled packing peanuts. Below, two forms, perhaps feet, stick out cheekily as though this figure is struggling to get up. From the tilt of Sitting Yellow (2013-2018), one asks the question is the figure resting or incapacitated? The authority of these sculptures very much resides in our apprehension of their psychological dynamics ─ our own fears, hopes, and history become poignant. -
Walead Beshty 33 Texts: 93,614 Words: 581,035 Characters
Walead Beshty Artist’s writings 33 Texts: 93,614 Walead Beshty has written on a variety of media, including essays on Words: 581,035 cinema, painting, sculpture, and photography. In addition, he has authored many monographic texts on artists such as Jay DeFeo, Sharon Characters Lockhart, Kelley Walker, Luisa Lambri, Annette Kelm, and Michael Asher, among others. This book gathers together a selection of these essays, Selected Writings partially reedited, and often hard to find, as they were published as (2003–2015) much in books as in various magazines. Together these texts appear as a parallel production to Beshty's own artistic practice: they reflect on Program the conditions of realization and circulation of images, they undermine Positions Series essentialist distinctions of mediums, abstraction, and figuration, as well ______________________________________ as proposing a true aesthetic of reception for the works examined. As the artist puts it, one of his ambitions might be to reveal that, "Art itself Edited by has the potential to democratize aesthetics and reimagine aesthetic Lionel Bovier production as communal, available, and nonhierarchical. I like the idea ______________________________________ of demystifying aesthetics by communicating that we can all make Authors aesthetic objects; it is not simply for those with capital or power." George Baker Walead Beshty Walead Beshty earned a Bachelor of Arts from Bard College in 1999, and ______________________________________ a Master of Fine Arts from Yale University School of Art in 2002. He is an Associate Professor in the Graduate Art Department at Art Center Edition College of Design, Pasadena, and has taught at numerous schools English including the University of California, Los Angeles; University of December 2015 California, Irvine; the California Institute of the Arts; School of the Art ISBN: 978-3-03764-442-3 Institute of Chicago; and the MFA Program at Bard College. -
Tjaividl1i Brooklyn Academy of Music 1996 Next Wave Festival
tJAIVIDl1i Brooklyn Academy of Music 1996 Next Wave Festival Jim Dine, The Heart of BAM, 1996, Woodcut, 26-1/4" x 19-3/8" Artists in Action BAM 1996 Next Wave Festival and 135th Anniversary Season are sponsored by Philip Morris Companies Inc. The Brooklyn Snug Harbor Cultural The Brooklyn Museum Academy of Music Center Robert S. Rubin Bruce C. Ratner Ralph J. Lamberti Chairman, Chairman of the Board Chairman, Boa rd of Trustees Board of Directors Harvey Lichtenstein David E. Kleiser Roy R. Eddey President & President & CEO Acting President Executive Producer present Artists in Action BAM Visual Arts Initiative Flatland: A Romance MINE Black Fathers and of Many Dimensions Rona Pondick Sons: A US Perspective Jene Highstein and Robert Feintuch Albert Chong and Hanne Tierney with Sara Rudner with Johnny Coleman, The Hittite Empire and Quincy Troupe Snug Harbor Cultural The Brooklyn Museum BAM Majestic Theater Center November 7-9, 1996 November 13-16, November 21-23, at 8pm 1996 at 8pm 1996 at 8pm November 9 & 10 at 3pm photos, Brigitte Lacombe Special support for Artists In Action has been provided by The Pew Charitable Trusts, The Henry Luce Foundation, Inc., The Andy Warhol Foundation for the Visual Arts, The Greenwall Foundation, The Cowles Charitable Trust, and The Arch W. Shaw Foundation. During their years working with artists, Brooklyn Academy of Music President and Executive Producer Harvey Lichtenstein and Producing Director Joseph VlYlelillo noticed that visual artists and performing artists do not conceptualize performance space in the same way. This difference is the inspiration behind Artists in Action. -
Walead Beshty
Walead Beshty Born in London, England, 1976 Lives and works in Los Angeles CA Education MFA, Yale University School of Art, New Haven CT, 2002 BA, Bard College, Annandale-on-Hudson NY, 1999 Professorships Art Center College of Design, Pasadena CA, 2008 Milton Avery Graduate School of the Arts, Bard College, Annandale-on-Hudson NY, 2007 Solo Exhibitions 2021 Foreign Correspondence (October 1, 2012 - January 14, 2021), Galeria Eva Presenhuber, Zurich, Switzerland 2020 Walead Beshty: Standard Deviations, Kunst Museum Winterthur, Winterthur, Switzerland Walead Beshty: Industrial Portraits, Fondazione MAST, Bologna, Italy 2019 Walead Beshty, Petzel Gallery, New York NY Walead Beshty, Rodolphe Janssen Gallery, Brussels, Belgium Walead Beshty, Musée d’art modern et contemporain, Geneva, Switzerland 2018 Aggregato, Thomas Dane Gallery, Naples, Italy Equivalents, Regen Projects, Los Angeles CA 2017 Open Source, Petzel Gallery, New York NY Transparencies, Rat Hole Gallery, Tokyo, Japan 2016 Automat, Galerie Eva Presenhuber, Zurich, Switzerland 2015 Disponibles, Travesîa Cuatro, Guadalajara, Mexico Walead Beshty, Great Hall Exhibition, Institute of Fine Arts, New York University, New York NY Walid AlBeshti, Regen Projects, Los Angeles CA 2014 Marginalia, Thomas Dane Gallery, London, England Gastarbeiten, Capitain Petzel, Berlin, Germany 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, Curve Gallery, Barbican Centre, London, England Performances Under Working Conditions, Petzel, New York NY Selected Bodies of Work, Regen Projects, Los Angeles CA 2013 Walead Beshty, 8 rue Saint-Bon, Paris, France Fair Use, Power Station, Dallas TX 2012 Travel Pictures, Thomas Dane Gallery, London, England 2011 PROCESSCOLORFIELD, Regen Projects, Los Angeles CA A Diagram of Forces, Malmö Konsthall, Malmö, Sweden (Ex.