WALEAD BESHTY
b. 1976, London, United Kingdom
Education
2002, MFA, Yale University School of Art, New Haven, CT
1999, BA, Bard College, Annandale-on-Hudson, NY
SOLO EXHIBITIONS
2024
Profit & Loss, Regen Projects, Los Angeles, CA
2022
Addendum, Thomas Dane Gallery, London, United Kingdom
2021
Foreign Correspondence (October 1, 2012 – January 14, 2021), Galerie Eva Presenhuber, Zurich, Switzerland
2020
Standard Deviations, Kunst Museum Winterthur, Winterthur, Switzerland (Ex. cat.)
Industrial Portraits, MAST Foundation, Bologna, Italy
2019
Abstract of 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, Petzel, New York, NY
Three Pictures, Galerie Rodolphe Janssen, Brussels, Belgium
Walead Beshty, Musée d'art moderne et contemporain, Geneva, Switzerland
2018
Aggregato, Thomas Dane Gallery, Naples, Italy (Ex. cat.)
Equivalents, Regen Projects, Los Angeles, CA
2017
Open Source, Petzel, New York, NY (Ex. cat.)
Transparencies, Rat Hole Gallery, Tokyo, Japan
2016
Automat, Galerie Eva Presenhuber, Zurich, Switzerland
2015
Disponibles, Travesía 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, United Kingdom
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, United Kingdom
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, United Kingdom
2011
PROCESSCOLORFIELD, Regen Projects, Los Angeles, CA
A Diagram of Forces, Malmö Konsthall, Malmö, Sweden (Ex. cat.)
A Diagram of Forces, Centro de Arte Dos de Mayo, Madrid, Spain (Ex. cat.)
Securities and Exchanges, Ullens Center for Contemporary Art, Beijing, China
Diapositives, Galerie Rodolphe Janssen, Brussels, Belgium
2009
Legibility on Color Backgrounds, Hirshhorn Museum and Sculpture Garden, Washington, D.C.
Pulleys, Cogwheels, Mirrors, and Windows, University of Michigan Museum of Art, Ann Arbor, MI (Ex. cat.)
Popular Mechanics, Wallspace, New York, NY
Passages, LAXART, Los Angeles, CA
Production Stills, Thomas Dane Gallery, London, United Kingdom
2008
Science Concrète, 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
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 AND THREE PERSON EXHIBITIONS
2014
Crystal Voyager, collaboration with Kelley Walker, Paula Cooper Gallery, New York, NY
Hardbody Software, collaboration with Kelley Walker, Redling Fine Art, Los Angeles, CA
2012
I’m thinking how happy I am: Lutz Bacher, Walead Beshty, Euan Macdonald, Western Bridge, Seattle, WA
2010
Later Layer, collaboration with Johnston Marklee Architects, Istituto Italiana di Cultura, Los Angeles, CA (Ex. cat.)
2009
Plug n Play, Walead Beshty & Karl Haendel, Redling Fine Art, Los Angeles, CA
Walead Beshty, Karl Haendel, Patrick Hill—curated by Betty Nguyen, Noma Gallery, San Francisco, CA
Walead Beshty, Kelley Walker, Christopher Williams, China Art Objects Galleries, Los Angeles, CA
2008
Walead Beshty & James Welling, The Suburban, Oak Park, IL
2007
Anything You Want: Walead Beshty, Anne Collier, Annette Kelm, Pump House Gallery, London, United Kingdom
GROUP EXHIBITIONS
2024
From Memory, Musée d'art moderne et contemporain, Geneva, Switzerland
Form Matters, Matter Forms, Kunst Museum Winterthur, Switzerland
If not now, when?: Collection Max Vorst, Museum Beelden aan Zee, The Hague, the Netherlands
Museum grenzenlos. Kunst-Design / Dunkerque-Krefeld, Kunstmuseen Krefeld, Haus Lange Haus Esters, Krefeld, Germany
Soliloquies, Petzel, New York, NY
This Side Up, Houston Center for Contemporary Craft, Houston, TX
Space–Sight–Line, The Church at Sag Harbor, NY
2023
All Crescendo, No Reward, Zabludowicz Collection, London, United Kingdom
Ein Unikat in Serie, Kunsthaus Grenchen, Switzerland (Ex. cat.)
Print is a Battlefield, Museo Villa dei Cedri Bellinzona, Switzerland (Ex. cat.)
House in Motion / New Perspectives, de la Cruz Collection, Miami, FL
2022
Print Art Now—Collecting at Edition VFO, Musée Jenisch Vevey, Switzerland (Ex. cat.)
Delivery in Art, National Museum of Modern and Contemporary Art, CheongJu, Republic of Korea
A Century of the Artist’s Studio: 1920–2020, Whitechapel Gallery, London, United Kingdom (Ex. cat.)
Stars Don’t Stand Still in the Sky: A Tribute to Lawrence Weiner, Regen Projects, Los Angeles, CA
Sightlines: Photographs from the Collection, San Francisco Museum of Modern Art, CA
Sculptures by…, Galerie Eva Presenhuber, New York, NY
Show Your Work—curated by Sara Shaoul and Gabriela Vainsencher, 601Artspace, New York, NY
Notes on Abstraction, Edition VFO, Zurich, Switzerland
Labor, Centre d’Action Laïque, Charleroi, Belgium
Together, at the Same Time, de la Cruz Collection, Miami, FL
2021
True Pictures?: Contemporary Photography from Canada and the USA–curated by Stefan Gronert, Sprengel Museum Hannover, Germany
Cerámica Suro: Una historia de colaboración, producción y coleccionismo en el Arte Contemporáneo, Museo de Arte de Zapopan, Mexico
Inherent Form, Regen Projects, Los Angeles, CA
Panorama–curated by Vincenzo de Bellis, a project by ITALICS, Procida, Italy
Portable Sculpture, Henry Moore Institute, Leeds, United Kingdom
Sustainable Museum: Art and Environment, Museum of Contemporary Art Busan, Republic of Korea
If Time is Money, Are ATMs Time Machines?, Golden Eagle Museum, Nanjing, China
Neo-Abstraction, Georgia Museum of Art, University of Georgia, Athens, GA
There Is Always One Direction, de la Cruz Collection, Miami, FL
2020
Off Camera, Royal Academy of Arts Antwerp, Belgium (Ex. cat.)
Terminal, City Gallery Wellington, Aotearoa New Zealand
2021, Petzel, New York, NY, online, petzel.com
La Photo a l’Epreuve de l’Abstraction, Fonds régional d'art contemporain Normandie Rouen, France
Downloadable, Petzel, New York, NY, online, petzel.com
Community Board, Petzel, New York, NY, online, petzel.com
Rhizome 5/7 | The Technical Image, Capitain Petzel, online, capitainpetzel.de
When We First Arrived … , The Corner at Whitman-Walker, Washington, D.C.
Haptic Feedback, Galerie Thomas Schulte, Berlin, Germany
2019
From Day to Day, de la Cruz Collection, Miami, FL
Open House: Gala Porras-Kim, Museum of Contemporary Art, Los Angeles, CA
Encountered Error, Société d’Électricité, Brussels, Belgium
Aichi Triennale: Taming Y/Our Passion—curated by Meruro Washida, Aichi Prefectural Art Museum, Japan
Second Hand, Jameel Arts Centre, Dubai, United Arab Emirates
Occupational Hazards—curated by Alexandra Stock, apexart, New York, NY
Out of the Box: Camera-less Photography, Norton Museum of Art, West Palm Beach, FL
Baggage Claims, Weisman Art Museum, Minneapolis, Minnesota
Modus Operandi: Contemporary Photography from the Collection of BNY Mellon, The Florida Museum of Photographic Arts, Tampa, FL
2018
Media Networks–curated by Mark Godfrey, Tate Modern, London, United Kingdom
More/Less, De La Cruz Collection Contemporary Art Space, Miami, FL, Miami, FL
Tubologie: nos vies dans les tubes–curated by KVM, Ju Hyun Lee and Lodvic Burel, Frac Grand Large, Dunkerque, France
FRONT International: Cleveland Triennial for Contemporary Art: An American City, Cleveland, OH
Always Different, Always the Same: An Essay on Art and Systems, Bündner Kunstmuseum Chur, Switzerland (Ex. cat.)
une collection de photographies, Galerie Rodolphe Janssen, Brussels, Belgium
Picture Fiction: Kenneth Josephson and Contemporary Photography, Museum of Contemporary Art Chicago, Illinois
Baggage Claims, Weatherspoon Art Museum, The University of North Carolina, Greensboro
2017
Murakami vs Murakami, Astrup Fearnley Museet, Oslo, Norway
ISelf Collection: The Upset Bucket, Whitechapel Gallery, London, United Kingdom
Force and Form, de la Cruz Collection, Miami, FL
All the Names—curated by Rui Mateus Amaral, Scrap Metal, Toronto, Canada
Baggage Claims, Orlando Museum of Art, Orlando, FL (Ex. cat.)
The Time. The Place. Contemporary Art from the Collection, Henry Art Gallery, University of Washington, Seattle, WA
Pivotal: Highlights from the Collection, Orange County Museum of Art, Newport Beach, CA
EXIT—curated by Adam Carr, Galerie Rodolphe Janssen, Brussels, Belgium
Light Play: Experiments in Photography, 1970s to the Present, Los Angeles County Museum of Art, Los Angeles, CA
The Arcades: Contemporary Art and Walter Benjamin, The Jewish Museum, New York, NY (Ex. cat.)
100 Masterpieces of Modern and Contemporary Arab Art: The Barjeel Collection, Institut du Monde Arabe, Paris, France
Black Magic—curated by Andreas Duscha, Christine König Galerie, Vienna, Austria
2016
Progressive Praxis, de la Cruz Collection, Miami, FL
Abstract/Object, The Art Institute of Chicago, IL
New Matter: Recent Forms of Photography, Art Gallery of New South Wales, Sydney, Australia
Das Loch, Künstlerhaus Bremen, Germany
Show Me Your Vital Parts, Parts Project, The Hague, the Netherlands
Surrogates—curated by Helga Pakasaar, Griffin Art Projects, Vancouver, Canada (Ex. cat.)
The Artists’ Library—curated by Warren Neidich, LAXART, Los Angeles, CA
Fine Young Cannibals, Petzel, New York, NY
Making & Unmaking—curated by Duro Olowu, Camden Arts Centre, London, United Kingdom (Ex. cat.)
Pièces Meublés—curated by Bob Nickas, Galerie Patrick Seguin, Paris, France
Emanations: The Art of the Cameraless Photograph—curated by Geoffrey Batchen, Govett-Brewster Art Gallery, New Plymouth, New Zealand (Ex. cat.)
El Orden Natural De Las Cosas, Museo Jumex, Mexico City, Mexico
The Space Between, Massachusetts Museum of Contemporary Art, North Adams, Massachusetts
Takashi Murakami’s Superflat Collection—From Shōhaku and Rosanjin to Anselm Kiefer—, Yokohama Museum of Art, Yokohama, Japan (Ex. cat.)
2015
All the World’s Futures—curated by Okwui Enwezor, 56th International Art Exhibition, La Biennale di Venezia, Venice, Italy (Ex. cat.)
You've Got to Know the Rules ... to Break Them, De La Cruz Collection Contemporary Art Space, Miami, FL
Everything Must Go: Art and the Market, Lewis Glucksman Gallery, University College Cork, Ireland (Ex. cat.)
Blind Architecture—curated by Douglas Fogle, Thomas Dane Gallery, London, United Kingdom
Gimmie Gimmie Gimmie—curated by Todd Pavlisko, Cincinnati Arts Association’s Alice F. and Harris K. Weston Art Gallery, Aronoff Center for the Arts, Cincinnati, OH
At the Hub of Things: New Views of the Collection, Hirshhorn Museum and Sculpture Garden, Washington, D.C.
New Skin—curated by Massimiliano Gioni, Aïshti Foundation, Beirut, Lebanon
Arrêter de me copier, FRAC Nord-Pas-de-Calais, Dunkirk, France
The Art of Our Time—curated by Helen Molesworth, The Museum of Contemporary Art, Los Angeles, CA
Artists at Work, Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, Palo Alto, CA
A Blind Man in His Garden, POOL at LUMA/Westbau, Zurich, Switzerland
After Picasso: 80 Contemporary Artists, Wexner Center for the Arts, Columbus, OH (Ex. cat.)
Networked: Contemporary Art about Threads, Distance, History and Stories, Communities and Cabbage Storehouses—curated by Nicolas Bourriaud, 10th Kaunas Biennial, M.K. Čiurlionis National Museum of Art, Kaunas, Lithuania
No Place Like Home: Selections from the Sue and John Wieland Collection of Contemporary Art, Brigham Young University Museum of Art, Provo, UT
Old News (again)—curated by Jacob Fabricius, Le Centre National Édition Art Image, Chatou, France
Open Rhapsody, Beirut Exhibition Center, Beirut, Lebanon
An Imprecise Science—curated by Alexia Glass-Kantor with Talia Linz, Artspace, Sydney, Australia
Atopolis, Wiels at Mons 2015, Manège de Sury, Mons, Belgium (Ex. cat.)
Picasso in Contemporary Art, Deichtorhallen Hamburg, Germany (Ex. cat.)
75 Gifts for 75 Years, Walker Art Center, Minneapolis, MN
Revelations: Experiments in Photography, Media Space, Science Museum, South Kensington, United Kingdom
Repetition and Difference, The Jewish Museum, New York, NY (Ex. cat.)
Works on Paper, Galerie Eva Presenhuber, Zurich, Switzerland
Linear Abstraction—curated by Alexandra Sachs and Aaron Levi Garvey, Gutstein Gallery, Savannah College of Art and Design, Savannah, GA
Partial Presence, Zabludowicz Collection, London, United Kingdom
Stars + Stripes: American Art of the 21st Century from the Goldberg Collection, Bathurst Regional Art Gallery, Bathurst, Australia / Grafton Regional Art Gallery, Grafton, Australia / Manly Art Gallery and Museum, Sydney, Australia / Cowra Regional Art Gallery, Cowra, Australia / Manning Regional Art Gallery, Taree, Australia / Western Plains Cultural Centre, Dubbo, Australia / Wagga Wagga Art Gallery, Wagga Wagga, Australia / Latrobe Regional Art Gallery, Morwell, Australia / Ipswich Art Gallery, Ipswich, Australia
Damage Control: Art and Destruction Since 1950—curated by Kerry Brougher and Russell Ferguson, Kunsthaus Graz, Austria (Ex. cat.)
2014
Melting Walls: The Babel Trilogy—curated by Sarit Shapira, University of Tel Aviv, Tel Aviv, Israel
Beneath the Surface, De La Cruz Collection Contemporary Art Space, Miami, FL
Blackout, Galerie Rodolphe Janssen, Brussels, Belgium
Looking at Process, De La Cruz Collection Contemporary Art Space, Miami, FL
Damage Control: Art and Destruction Since 1950—curated by Kerry Brougher and Russell Ferguson, Musée d’Art Moderne Grand-Duc Jean, Luxemburg City, Luxembourg (Ex. cat.)
A World of Its Own: Photographic Processes in the Studio, Museum of Modern Art, New York, NY
Batalhão de Telegrafistas—curated by Fernando Oliva and Tobi Maier, Galeria Jaqueline Martins, São Paulo, Brazil
Performance: Contemporary Photography from the Douglas Nielsen Collection—curated by Joshua Chuang, Center for Creative Photography, University of Arizona, Tucson, AZ
Metal, Middlesbrough Institute of Modern Art, Middlesbrough, United Kingdom
Trouble with the Index, California Museum of Photography, University of California Riverside, Riverside, CA
Comic Future, Wexner Center for the Arts, Columbus, OH
2013
Test Pattern, Whitney Museum of American Art, New York, NY
California Landscape into Abstraction, Orange County Museum of Art, Newport Beach, CA (Ex. cat)
Comic Future, Ballroom Marfa, Marfa, TX
Damage Control: Art and Destruction Since 1950—curated by Kerry Brougher and Russell Ferguson, Hirshhorn Museum and Sculpture Garden, Washington, D.C. (Ex. cat.)
More American Photographs—curated by Jens Hoffman, California Museum of Photography, University of California Riverside, Riverside, CA (Ex. cat.)
Somos Libres, MATE, Asociación Mario Testino, Lima, Peru
Museum of Modern Art and Western Antiques: Department of Light Recordings: Section IV: Lens Drawings—curated by Jens Hoffman, Marian Goodman Gallery, Paris, France (Ex. cat.)
Lat. 41’ 7” N. Long. 72’ 19” W.—curated by Bob Nickas, Martos Gallery, New York, NY
Transforming the Known: Works from the Bert Kreuk Collection, Gemeente Museum Den Haag, The Hague, the Netherlands
L'ange de l’histoire—curated by Nicolas Bourriaud, Ecole Nationale Supérieure des Beaux Arts, Paris, France (Ex. cat.)
Fragile, Le Stanze del Vtro, San Giorgio Maggiore, Venice, Italy
POST—curated by Jacob Fabricius, Kunsthal Charlottenborg, Copenhagen, Denmark (Ex. cat.)
Pattern: Follow the Rules, Eli and Edythe Broad Art Museum, Michigan State University, East Lansing, MI
0 to 60: The Experience of Time through Contemporary Art, North Carolina Museum of Art, Raleigh, NC
More American Photographs—curated by Jens Hoffman, Wexner Center for the Arts, Columbus, OH (Ex. cat.)
Correspondences, Espace Louis Vuitton, Paris, France
White Cube, Green Maze: New Art Landscapes, with JohnstonMarklee Architects, Yale School of Architecture Gallery, New Haven, CT
Walead Beshty: Untitled (Rose Art Museum, Brandeis University: Waltham, Massachusetts, February 12–June 9, 2013), in conjunction with On the Matter of Abstraction (figs. A & B): Parallel Exhibitions of Post-War Non-Figurative Art from the Collection, Rose Art Museum, Brandeis University, Waltham, MA
The Unphotographable, Fraenkel Gallery, San Francisco, CA (Ex. cat.)
2012
The Endless Renaissance, Bass Museum of Art, Miami Beach, FL
Only parts of us will ever touch parts of others—curated by Timothee Chaillou, Galerie Thaddaeus Ropac, Paris, France (Ex. cat.)
White Cube, Green Maze: New Art Landscapes, with JohnstonMarklee Architects, Carnegie Museum of Art, Pittsburgh, PA
The Revolution Has To Be Done Little by Little, Galeria Raquel Arnaud, São Paulo, Brazil (Ex. cat.)
Inaugural Exhibition of Gallery Artists, Regen Projects, Los Angeles, CA
9th Shanghai Biennale 2012, Walead Beshty, Los Angeles Pavilion, Shanghai, China (Ex. cat.)
OC Collects, Orange County Museum of Art, Newport Beach, CA
Theatre of Thought, Bonnefantenmusem, Maastricht, the Netherlands
Foreigners Everywhere—curated by Ami Barak, Jewish Museum, Vienna, Austria
Troubling Space: The Summer Sessions—curated by Helga Just Christoffersen and Natasha Llorens, Zabludowicz Collection, London, United Kingdom
Inside Out and From the Ground Up, Museum of Contemporary Art, Cleveland, OH
Abstract Everyday – Everyday Abstract—curated by Matthew Higgs, James Cohan Gallery, New York, NY
When Attitudes Became Form, Become Attitudes—curated by Jens Hoffman, CCA Wattis Institute, San Francisco, CA (Ex. cat)
Status, Fotomuseum Winterthur, Zurich, Switzerland (Ex. cat.)
Affective Turns?—organized by Phil Chang, Pepin Moore, Los Angeles, CA
I Think and That is All I Am, Thomas Duncan Gallery, Los Angeles, CA
Out of Control, NEST, The Hague, the Netherlands
Devouring Time, Western Bridge, Seattle, WA
Signed, Sealed, Delivered, Zach Feuer Gallery, New York, NY
More American Photographs—curated by Jens Hoffman, Museum of Contemporary Art, Denver, CO (Ex. cat.)
This Title is an Artwork of Mine: A Group Exhibition in a Book—curated by Mikkel Carl, Revolver Publishing, Berlin, Germany
2011
Benefit for the Student Mobilization Committee to End the War in Vietnam, Redling Fine Art, Los Angeles, CA
Antidote 7, Galerie des Galeries, Paris, France
Videowatercolors: Carel Balth Among His Contemporaries at the Henry Art Gallery, Henry Art Gallery, University of Washington, Seattle, WA
The More Things Change, San Francisco Museum of Modern Art, San Francisco, CA
More American Photographs—curated by Jens Hoffman, CCA Wattis Institute, San Francisco, CA (Ex. cat.)
the boy who robbed you a few minutes before arriving at the ball—curated by Kelley Walker, Galerie Gisela Capitain, Cologne, Germany
Human Nature, Los Angeles County Museum of Art, Los Angeles, CA
Elements of Chance, 2011 Montréal Biennale, Montréal, Canada (Ex. cat.)
After Images—curated by Fionn Meade, Musée Juif de Belgique, Brussels, Belgium (Ex. cat.)
Intimate Bureaucracies: Art and the Mail, University of Essex, Colchester, United Kingdom (Ex. cat.)
Black Swan: The Exhibition—curated by Dominic Sidhu, Regen Projects, Los Angeles, CA
The Smithson Effect, Utah Museum of Fine Art, Salt Lake City, UT
Anti-Photography—curated by Duncan Woolridge, Focal Point Gallery, Southend-on-Sea, United Kingdom
Catalogue of the Exhibition—curated by Bob Nickas, Triple V, Paris, France
2010
Bedtime for Bonzo—curated by Matthew Porter, M+B, Los Angeles, CA
Haunted: Contemporary Photography/Performance/Video—curated by Jennifer Blessing and Nat Trotman, Solomon R Guggenheim Museum, New York (Ex. cat.)
Pleated Blinds—curated by Ory Dessau, Petach Tikva Museum, Tel Aviv, Israel (Ex. cat.)
Let’s Dance, Musee d’Art Contemporain du Val-de-Marne, Vitry-sur-Seine, France (Ex. cat.)
Vortexhibition Polyphonica: Opus III, Henry Art Gallery, University of Washington, Seattle, WA
The Artist’s Museum, Museum of Contemporary Art Los Angeles, Los Angeles, CA
Milk Drop Coronet, Camera Austria, Graz, Austria
On Mistakes, Restrictions, Failures—and other positive things, Gesellschaft Für Aktuelle Kunst, Bremen, Germany
Art on Paper Biennial, Weatherspoon Art Museum, University of North Carolina at Greensboro, Greensboro, NC
One Fine Morning in May . . . , Gesellschaft Für Aktuelle Kunst, Bremen, Germany
At Home / Not at Home: Works from the Collection of Martin and Rebecca Eisenberg—curated by Matthew Higgs, Center for Curatorial Studies Hessel Museum of Art, Bard College, Annandale-on-Hudson, NY (Ex. cat.)
The Traveling Show, La Collección Júmex, Ecatepec, Mexico
I Want to See How You See, Julia Stoschek Collection, Deichtorhallen, Hamburg, Germany (Ex. cat.)
Haunted: Contemporary Photography/Performance/Video—curated by Jennifer Blessing and Nat Trotman, Solomon R Guggenheim Museum, Bilbao (Ex. cat.)
Karl Haendel & Walead Beshty, Sheree Hovsepian, Barbara Kasten, Monique Meloche Gallery, Chicago, IL (collaboration with Karl Haendel)
Photogenic, Blanket, Vancouver, Canada
De Rigueur, Richard Telles Fine Art, Los Angeles, CA
Infinite Fold, Galerie Thaddaeus Ropac, Paris, France (Ex. cat.)
A Very, Very Long Cat, Wallspace, New York, NY
Bidoun Video 2010, Bidoun, Art Dubai, United Arab Emirates (Ex. cat.)
2009
Radical Autonomy, Le Grand Café, Centre d’Art Contemporain, Saint-Nazaire, France
Noise—curated by Negar Azimi, Galerie Sfeir-Semler, Beirut, Lebanon
Proposal (Nacht Und Tråume) for Stavanger—curated by Vincent Honoré, Galleri Opdahl, Stavanger, Norway
Hyperborean Manners, Rob Tufnell, London, United Kingdom
New Photography: 2009—curated by Eva Respini, The Museum of Modern Art, New York, NY
Radical Autonomy—curated by Arno van Roosmalen, Le Grand Café, Centre d’Art Contemporain, St. Nazaire, France
Prune – Abstracting Reality—curated by Kathy Ryan, Fotografiemuseum Amsterdam, the Netherlands
Elements of Photography—curated by Michael Green, The Museum of Contemporary Art, Chicago, IL
October Show, Transmission Gallery, Glasgow, Scotland
Because I Say So, Patricia and Phillip Frost Art Museum, Florida International University, Miami, Florida (Ex. cat.)
FIVE: Walead Beshty, Matthew Brannon, Wade Guyton, Sterling Ruby, and Kelley Walker, Baibakov Projects, Moscow, Russia (Ex. cat.)
Still Revolution: Suspended in Time—curated by David Liss and Bonnie Rubenstein, Museum of Contemporary Art, Toronto, Canada
Our Mirage, Art:Concept, Paris, France
Phot(o)bjects—curated by Bob Nickas, Presentation House Gallery, Vancouver, Canada
Altermodern: The Tate Triennial—curated by Nicolas Bourriaud, The Tate Britain, London, United Kingdom
The Space of the Work and the Place of the Object, Sculpture Center, Long Island City, NY
A Twilight Art, Harris Lieberman Gallery, New York, NY
Photography in the Abstract—curated by Maureen Mahony, Lora Roberts Gallery, Austin, TX
To Be Determined, Andrew Kreps, New York, NY
The Photographic Object: between sculpture and photography—curated by Clare Grafik, The Photographer’s Gallery, London, United Kingdom
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
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.)
Number Two: Fragile, Julia Stoschek Collection, Dusseldorf, Germany (Ex. cat.)
Signs of the Time—curated by Elisabeth Sussman, Whitney Museum of American Art, New York, NY
The Light of the Virgo, China Art Objects Galleries, Los Angeles, CA
the sickness of the hunting—curated by Gilbert Perlein, Musée d’Art Moderne et d’Art Contemporain, Nice, France (Ex. cat.)
Word Event (After George Brecht)—curated by Maxine Kopsa and Roos Gortzak, Kunsthalle Basel, Switzerland
Los Angeles Confidential—curated by Sandra Patron, Centre d’ Art Contemporain, San Léger, France
Open Sky, Kunstverein Medienturm, Graz, Austria
No Room—curated by Mark Lee and Sharon Johnston, Christopher Grimes Gallery, Los Angeles, CA
When a clock is seen from the side it no longer tells the time, Johann Koenig, Berlin, Germany
Please Stay Out We’re Open, Redling Fine Art, Los Angeles, CA
Recent Acquisitions, Museum of Contemporary Art Chicago, IL
Biennial Exhibition 2008—curated by Henriette Huldisch and Shamim M. Momin, Whitney Museum of American Art, New York, NY (Ex. cat.)
Facebook: Images of People in Photographs from the Collection—curated by Mary-Kay Lombino, Frances Lehman Loeb Art Center, Poughkeepsie, NY
Past-Forward—curated by Vincent Honoré, Project Space 176, The Zabludowicz Collection, London, United Kingdom (Ex. cat.)
Le Retour, Nice & Fit, Berlin, Germany
The Unfair Fair, 1:1 Projects, Rome, Italy (Ex. cat.)
2007
Two Years, Whitney Museum of Art, New York, NY
From a Distance—curated by Vincent Honoré, Wallspace, New York, NY
Meanwhile in Baghdad—curated by Hamza Walker, 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
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, Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany (Ex. cat.)
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, and 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, Armand Hammer Museum of Art, Los Angeles, CA
Spectral Evidence—curated by Steven Lam, The Rotunda Gallery, Brooklyn, NY
World’s Largest Walkie Talkie Network, by Flora Wiegmann, LAXART, Los Angeles, CA
2006
Looking Back: The White Columns Annual—curated by Matthew Higgs, White Columns, New York, NY
The California Biennial—curated by Elizabeth Armstrong, Karen Moss, and Rita Gonzalez, Orange County Museum of Art, Newport Beach, CA (Ex. cat.)
Studio City—curated by Efrat Shalem, Pescali & Sprovieri, London, United Kingdom
Chaos or Control—curated by James Welling, UCLA School of Architecture Gallery, Los Angeles, CA
Dice Thrown (will never annul chance)—curated by João Ribas and Becky Smith, Bellwether, New York, NY
Walead Beshty, Roe Etheridge, Philip-Lorca diCorcia, Stephen Shore, Christopher Williams, Galerie Rodolphe Janssen, Brussels, Belgium
Bring the War Home—curated by Drew Heitzler, Elizabeth Dee Gallery, New York, NY / QED, Los Angeles, CA
Walead Beshty, Kim Fisher, John Pylypchuk, Pae White, China Art Objects Galleries, Los Angeles, CA
Studio City—curated by Efrat Shalem, Tal Esther Gallery, Tel Aviv, Israel
2005
The New City: Sub/Urbia in Recent Photography—curated by Christina Kukielski, 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, Dumbo 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—curated by Rachel Uffner and Barb Choit, 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 & João Ribas, Phillips, de Pury & Company, New York, NY
What Once Passed For Future or Landscapes of the Living Dead—curated by Magali Arriola, Art 2102, 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
Behind Closed Doors, Katonah Museum of Art, Katonah, NY
Self-Evidence: Identity in Contemporary Art—curated by Rachel R. Lafo, DeCordova Museum and Sculpture Park, Lincoln, MA (Ex. cat.)
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
SPECIAL PROJECTS
2023
Special single-work exhibition, 00:00:00, a Swiss Federal Railways six-digit, split-flap display clock that operates with time, reading 00:00:00 at every rotation. Commissioned by secret place, Biel, Switzerland. Exhibited at secret place, Biel, Switzerland; Musée d'art moderne et contemporain, Geneva, Switzerland; and Kunst Museum Winterthur, Switzerland.
2018
Special skateboard editions to support the work of The Skateroom, NGO Skateistan, and The Rural Changemakers
2016
Special commission, large-scale public art installation, RxArt, Center for Advanced Care at Advocate Illinois Masonic Medical Center, Chicago, Illinois
Project, “ . . . ,” for the publication House Is a House Is a House Is a House: Architectures and Collaborations of Johnston Marklee, ed. Reto Geiser (Basel: Birkhäuser).
2015
Symposium, Step into Liquid: Art and Art-History in the Post-Fordist Era—organized by Walead Beshty, with Rachel Heidenry and Eloise Maxwell on the occasion of Walead Beshty, Great Hall Exhibition, Institute of Fine Arts, New York University, New York, NY. Panel 1: Digitalization and the Aesthetics of Distribution; moderator: Noam M. Elcott, speakers: Claire Bishop, Kenneth Goldsmith, and Ruba Katrib. Panel 2: Performativity and Methodology; moderator: Janet Kraynak, speakers: Alexander Alberro, Tim Griffin, Alex Kitnick, and Robert Slifkin.
Old News #9.5, Walead Beshty, Old News is a newsprint edition presenting a selection of articles and pictures from newspapers and magazines by international artist. Published on the occasion of Old News (again)—curated by Jacob Fabricius, Le Centre National Édition Art Image, Chatou, France.
2010
Day & Night—curated by Charlotte Sprogøe and Jesper Elg, public works group exhibition (in conjunction with the Danish Arts Council and the Municipality of Copenhagen on the occasion of the 2010 Copenhagen Photo Festival), Copenhagen, Denmark (ex. cat.). Site-specific billboard installations.
2009
Billboard Project, Dust (2007–2008), 2640 South La Cienega Boulevard, March 16–April 18, 2009, Los Angeles, California. Site-specific billboard at 2640 South La Cienega Boulevard, Los Angeles, CA (in conjunction with Passages, LAXART, Los Angeles, CA)
Docent Workshop, Hirshhorn Museum and Sculpture Garden, Washington, D.C. Workshop with museum docents creating cyanotype photograms on the grounds of the Sculpture Garden (in conjunction with Legibility on Color Backgrounds, Hirshhorn Museum and Sculpture Garden, Washington, D.C.)
2006–
Film Screening, “24 hour Armageddon: A Cold War Slumber Party,” Armand Hammer Museum of Art, Los Angeles, CA (2006), Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany (2007), Kadist Foundation, Paris, France (2007), Whitney Museum of American Art, New York, NY (2008), Thomas Dane Gallery, London, United Kingdom (2012), Power Station, Dallas, TX (2013). 24-hour screening of post-apocalyptic films from the Cold War-era.
CURATORIAL PROJECTS
2018
Picture Industry: A Provisional History of the Technical Image, 1844–2018, Luma Arles, Arles, France. (Ex. cat.) Featuring the work of Thom Andersen, Georges Bataille, Bernd and Hilla Becher, Ericka Beckman, Gretchen Bender, Lynda Benglis, Alphonse Bertillon, Stewart Bird, Rene Lichtman, and Peter Gessner, Black Audio Film Collective, Barbara Bloom, Guillaume-Amant Duchenne de Boulogne, Sarah Charlesworth, Shea Cobb, Emile Cohl, Cosey Fanni Tutti, Charles Darwin, Stan Douglas, Ariel Dorfman and Armand Mattelart, Daniel Eisenberg, William H. Emory, Walker Evans, Harun Farocki, Hans-Peter Feldmann, Morgan Fisher, William Henry Fox Talbot, LaToya Ruby Frazier, Lee Friedlander, Ernst Friedrich, Francis Galton, Isa Genzken, Liz Glynn, Dan Graham, Johan Grimonprez, James D. Hague and Clarence King, Lyle Ashton Harris, John Heartfield, Lewis Hine, Thomas Hirschhorn, Yngve Holen, Jenny Holzer, William Henry Jackson, Arthur Jafa, Fritz Kahn, Louise Lawler, Sherrie Levine, Glenn Ligon, Sharon Lockhart, Fred Lonidier, Louis and Auguste Lumière, Robert Mapplethorpe, Étienne-Jules Marey, Chris Marker, Kerry James Marshall, Renzo Martens, Allan McCollum, Boris Mikhailov, Sagar Mitchell and James Kenyon, Charles Moore, Jean-Luc Moulène, Eadweard Muybridge, Timothy H. O’Sullivan, Meret Oppenheim, Gordon Parks, Paul Pfeiffer, Jack Pierson, Seth Price, Eileen Quinlan, Jacob Riis, Martha Rosler, Cameron Rowland, August Sander, Allan Sekula, Stephen Shore, Fernando Solanas and Octavio Getino, Hito Steyerl, William Henry Fox Talbot, Georges Gilles de la Tourette, Wolfgang Tillmans, Sojourner Truth, Mierle Laderman Ukeles, Kelley Walker, David Walsh, Lawrence Weiner, Christopher Williams, Andrew Norman Wilson, and Richard Wright.
2017
Picture Industry, Hessel Museum, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY (Ex. Cat.). Featuring the work of Thom Andersen, David Askevold, Lewis Baltz, Georges Bataille, Bernd and Hilla Becher, Ericka Beckman, Gretchen Bender, Lynda Benglis, Alphonse Bertillon, Black Audio Film Collective, Black Star Productions (Stewart Bird, Peter Gessner, René Lichtman and John Louis, Jr. in association with the League of Revolutionary Black Workers), Barbara Bloom, Mel Bochner, Duchenne de Boulogne, Sarah Charlesworth, Charles Darwin, Ariel Dorfman and Armand Mattelart, Stan Douglas, William Emory, Walker Evans, Harun Farocki, Morgan Fisher, LaToya Ruby Frazier, Lee Friedlander and Stuart Klipper, Ernst Friedrich, Francis Galton, Isa Genzken, Octavio Getino and Fernando Solanas, Frank Gilbreth, Liz Glynn, Jack Goldstein, Dan Graham, Johan Grimonprez, James Hague et al., Lyle Ashton Harris, John Heartfield, Lewis Hine, Thomas Hirschhorn, Yngve Holen, Jenny Holzer, William Henry Jackson, Arthur Jafa, Fritz Kahn, Stephen Kaltenbach, Louise Lawler, Sherrie Levine, Glenn Ligon, Sharon Lockhart, Louis Lumière, Robert Mapplethorpe, Étienne-Jules Marey, Kerry James Marshall, Renzo Martens, Allan McCollum, Boris Mikhailov, Mitchell & Kenyon, Charles Moore, Jean-Luc Moulène, Eadweard Muybridge, Timothy O'Sullivan, Paul Pfeiffer, Jack Pierson, Seth Price, Jacob Riis, Jeroen de Rijke and Willem de Rooij, Martha Rosler, Cameron Rowland, August Sander, Allan Sekula, Stephen Shore, Hito Steyerl, William Henry Fox Talbot, Georges Gilles de la Tourette, Wolfgang Tillmans, Sojourner Truth, Cosey Fanni Tutti, Kelley Walker, Jeff Wall, Lawrence Weiner, and Christopher Williams.
2016
Picture Industry, as part of Systematically Open? New Forms for Contemporary Image Production, LUMA Arles, Arles, France. Featuring the work of Thom Andersen, David Askevold, Gretchen Bender, Lynda Benglis, Mel Bochner, Jeroen de Rijke & Willem de Rooij, Stan Douglas, Walker Evans, Harun Farocki, Morgan Fisher, Lee Friedlander & Stuart Klipper, Liz Glynn, Dan Graham, Thomas Hirschhorn, Stephen Kaltenbach, Pierre Leguillon, Sharon Lockhart, Louis Lumière, Boris Mikhailov, Jean-Luc Moulène, Seth Price, Eileen Quinlan, Jacob Riis, Allan Sekula, Stephen Shore, Hito Steyerl, Cosey Fanni Tutti, Kelley Walker, and Christopher Williams.
2014
A Machinery for Living, Petzel, New York, NY. Participants: Atelier EB, Lewis Baltz, Thomas Barrow, BassamFellows, Maurice Blanchot, Claire Fontaine, Jay DeFeo, Nathalie Du Pasquier, Morgan Fisher, Dan Flavin, Rudi Gernreich, Liam Gillick, Liz Glynn, Eileen Gray, Jan Groover, Rachel Harrison, Larry Johnson, Craig Kauffman, Romain Kremer, Sharon Lockhart, Lee Lozano, Josiah McElheny, Lucy McKenzie, Helen Pashgian, Raymond Pettibon, Francis Picabia, Stephen Prina, Paul Scheerbart, Barbara T. Smith, Dr. Dain L. Tasker, Joaquim Tenreiro, Raoul Veneigem, Kelley Walker, James Welling, Henry Wessel, Franz West, and Christopher Williams.
Organized project in collaboration with Kelley Walker, under the auspices of Another, Once Again, Many Times More—curated by Bob Nickas, Martos Gallery, East Marion, NY. Featuring the work of Fia Backstrom, Matthew Brannon, Marcel Broodthaers, Luke Butler, Andrew Cameron, Anne Collier, Claire Fontaine, General Idea, Liz Glynn, Michael Gonzalez, Wade Guyton, Larry Johnson and John Baldesarri, Annette Kelm, Martin Kippenberger, Konrad Klapheck, Todd Kreher, Erlea Maneros Zabala, Robert Mapplethorpe, Lucy McKenzie, John Miller, Raymond Pettibon, Paul Pfeiffer, Seth Price, Stephen Prina, Miljohn Ruperto, Michael Schmidt, Paul Shartis, Stephen Shore, Bali Alessandra Smith, Josh Smith, Erik van Lieshout, Mark Verabioff, James Welling, and Christopher Williams.
2013
On the Matter of Abstraction (figs. A & B): Parallel Exhibitions of Post-War Non-Figurative Art from the Collection, Rose Art Museum, Brandeis University, Waltham, MA—in collaboration with Rose Art Museum Director Christopher Bedford. Rose Art Museum Permanent Collection. Featuring the work of Richard Anuszkiewicz, Ronald Bladen, Ross Bleckner, Mark Bradford, Calvin Brown, Anthony Caro, Sarah Charlesworth, Judy Chicago, Bruce Conner, Porforio DiDonna, Tina Feingold, Ruth Peedin Fields, Helen Frankenthaler, Charline von Heyl, Hans Hofmann, Douglas Huebler, Fritz Glarner, Philip Guston, Al Held, Jasper Johns, Asger Jorn, Donald Judd, Ellsworth Kelly, Willem de Kooning, Sol Lewitt, Alexander Liberman, Morris Louis, Robert Mangold, Conrad Marca-Relli, Agnes Martin, Ana Mendieta, Robert Motherwell, Louise Nevelson, Kenneth Noland, Jules Olitski, Alfonso Ossorio, Roxy Paine, Judy Pfaff, Rona Pondick, Lawrence Poons, Robert Rauschenberg, David Reed, Richard Serra, David Smith, Leon Polk Smith, Jessica Stockholder, Aldo Tambellini, and Jean Xceron.
Blind Spot Magazine, no. 46, guest editor. Participating Artists: Mel Bochner, Andrew Cameron, Liz Deschenes, Daniel Everett, Morgan Fisher, Wade Guyton, Karl Haendel, Ulrik Heltoft, Luisa Lambri, Elad Lassry, Daniel Lefcourt, Erlea Maneros Zabala, Lucy McKenzie, Jack Pierson, Josephine Pryde, Eileen Quinlan, Jeroen de Rijke / Willem de Rooij, Miljohn Ruperto, Michael Snow, Kelley Walker, and Christopher Williams.
2010
Sunless, Thomas Dane Gallery, London, United Kingdom. Participating Artists: Peter Alexander, Thom Andersen, Lewis Baltz, Thomas Barrow, Larry Bell, Bruce Conner, Mary Corse, Jay DeFeo, John Divola, Morgan Fisher, Wally Hedrick, Robert Heinecken, Craig Kauffman, Helen Pashgian, Raymond Pettibon, Ed Ruscha, Stephen Shore, Dr. Dain L. Tasker, and James Welling.
Picture Industry (Goodbye to All That), Regen Projects, Los Angeles, CA. Participating Artists: Tauba Auerbach, Thomas Barrow, Carol Bove, Troy Brauntuch, Tony Conrad, Abraham Cruzvillegas, De Rijke / De Rooij, Liz Deschenes, Isa Genzken, Wade Guyton, Robert Heinecken, Charline Von Heyl, Karen Kilimnik, Imi Knoebel, Michael Krebber, Glenn Ligon, Erlea Maneros Zabala, Albert Oehlen, Manfred Pernice, Seth Price, Richard Prince, Josephine Pryde, R. H. Quaytman, Eileen Quinlan, Miljohn Ruperto, Cosey Fanni Tutti, Kelley Walker, James Welling, Christopher Williams, and Christopher Wool.
2007
There is Always a Background / CMYK, curated project of magazine based works for Cabinet Magazine, Fall. Participating Artists: Matthew Brannon, Morgan Fisher, Liam Gillick, Amy Granat, Elin Hansdottir & Darri Lorenzen, Leslie Hewitt, Corey McCorkle, and James Welling.
2006
The Gold Standard—co-curated with Bob Nickas, P.S.1 Contemporary Art Center, Long Island City, NY. Featuring the work of John Armleder, Andisheh Avini, Barry X Ball, Marcel Broodthaers, Tim Davis, Thomas Demand, Jessica Diamond, Sylvie Fleury, Felisa Funes, Piero Golia, Wayne Gonzales, Kent Henricksen, Thomas Hirschhorn, Fred Holland, Alfredo Jaar, Annette Kelm, Terence Koh, Yayoi Kusama, Louise Lawler, Daniel Lefcourt, Sherrie Levine, John Miller, Geof Oppenheimer, Mai-Thu Perret, Paul Pfeiffer, Seth Price, Rob Pruitt, David Ratcliff, Tim Rollins and K.O.S., Haim Steinbach, Sturtevant, Vincent Szarek, Wolfgang Tillmans, Kelley Walker, James Welling, and Eric Wesley.
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 Zabala, Emily Newman, Jesse Reed, Martha Rosler, Erika Vogt, Kelley Walker, and Lawrence Weiner.
MONOGRAPHS, COLLECTIONS, AND ANTHOLOGIES
2023
Addenda to a Sequence of Appearances: Walead Beshty Studios Inc. at Dane Chantala Associates Ltd., 2009–2022, Monograph / ex. cat. (London: Hurtwood Press), pp. 272, with contributions by Francis Atterbury, Walead Beshty, François Chantala, John Ryan Moore, Carlo De Rita, and Billie Temple.
2020
Lyn Kost, ed., Walead Beshty: Work in Exhibition 2011–2020, Monograph / ex. cat. (London: Koenig Books), pp. 376, with a forward by Konrad Bitterli and Lionel Bovier, essays by Noam M. Elcott, Walead Beshty, and Lynn Kost, and interviews by Lionel Bovier and Hamza Walker.
2018
Walead Beshty, ed., Picture Industry: A Provisional History of the Technical Image, 1844–2018, Anthology / ex. cat. (Zurich: JRP|Ringier, CCS Bard, and Luma Foundation), pp. 864, with a foreword by Maja Hoffmann and Tom Eccles.
2017
Industrial Portraits: Volume One, 2008–2012, Monograph (Zurich: JRP|Ringier), 568 pp., with an introduction by Hans Ulrich Obrist.
Walead Beshty: Procedurals, Petzel 2014–2017, Monograph (Berlin: DISTANZ), 80 pp.
2016
Lionel Bovier, ed., Walead Beshty: 33 Texts: 93,614 Words: 581,035 Characters: Selected Writings (2003–2015), Collection, Positions Series (Zurich, Switzerland and Dijon, France: JRP|Ringier and Les presses du réel), 336 pp., with an introduction by George Baker.
2015
Walead Beshty, ed., Ethics, Anthology, Documents of Contemporary Art Series (Cambridge, MA and London: MIT Press and Whitechapel Gallery), 240 pp.
2014
Walead Beshty: Natural Histories, Monograph / ex. cat., 2nd ed. (Zurich: JRP|Ringier), 192 pp.
2011
Walead Beshty: Natural Histories, Monograph / ex. cat. (Zurich: JRP|Ringier), 160pp. with essays by Nicolas Bourriaud, Suzanne Hudson, and Jacob Fabricius, and an interview with Bob Nickas.
2010
Walead Beshty: Selected Correspondences 2001–2010, Monograph (Bologna, Italy: Damiani Editore), 123 pp. with essays by Peter Eleey, Jason E Smith, and Eric Schwab.
Later Layer: Johnston Marklee and Walead Beshty, ex. cat. (Grottaferrata, Italy: Depart Foundation), 96 pp.
2009
Walead Beshty: Pulleys, Cogwheels, Mirrors, and Windows, ex. cat. (Ann Arbor: University of Michigan Museum of Art), 50 pp.
SELECTED REVIEWS AND PUBLICATIONS
2024
Ina Blom and Matthew Fuller, “A Filter Theory of Photography,” Media Theory, vol. 8, no. 1.
If not now, when?: Max Vorst Collection (The Hague: Museum Beelden aan Zee / Prowinko Proart).
Doug Welsh, “Review: ‘THIS SIDE UP’ at the Houston Center for Contemporary Craft,” Glasstire magazine, April 22.
2023
Antawan I. Byrd, Elizabeth Siegel, and Carl Fuldner, eds., The Art Institute of Chicago Field Guide to Photography and Media (Chicago: Art Institute of Chicago).
David Khalat, ed., Print Art Now, ex. cat. (Zurich: Edition VFO and Verlag Scheidegger & Spiess AG).
2022
Seol Wonji, ed., Delivery in Art, ex. cat. (Seoul: National Museum of Modern and Contemporary Art Korea).
Nicholas Nauman, “Lawrence Weiner’s Cross-Generational Tribute in L.A. Distills to a ‘Portrait’,” Ocula magazine, September 28.
Paul Carey-Kent, “Transported,” FAD Magazine, April 27.
Jackie Wullschläger, “A Century of the Artist’s Studio–a spellbinding adventure through time and place,” Financial Times, February 16.
2021
Robert Morris Levine and Walead Beshty, “On to Other Things (How do you feel about our bastard?),” Zolo Talks No. 16, Zolo Press, November 16.
Laurent de Verneuil, “Is Ceramics the New Video?,” artpress magazine, November.
Steven Humblet, ed., Off Camera, ex. cat. (Amsterdam: Roma Publications/Royal Academy of Fine Arts Antwerp).
Jessica Cerasi, ed., Contemporary Art Decoded (London: Ilex Press/Tate).
2020
Aaron Lister, ed., Terminal, ex. cat. (Wellington: City Gallery Wellington Te Whare Toi).
La photographie à l’épreuve de l’abstraction, ex. cat. (Berlin: Hatje Cantz).
Sarah Kaufman, “Walead Beshty and the Role of Uniforms Today,” Lampoon Magazine, May 8.
Caterina Bellinetti, “Dress for the Job: Photographing Uniforms,” Art & Object online, March 17.
Paul Laster, “The Art Show Sparkles with the Old and the New Once Again,” Art & Object online, March 2.
Martha Schwendener, “Critic’s Notebook: The Art Show at the Armory: Blue-Chip Brands Show Their Best,” The New York Times, February 27.
Abby Schultz, “From Contemplative to Morbid at The Art Show,” Barron’s online, February 27.
Adrian Mebold, “Kunst mit schmutzigen Händen,” Der Landbote, January 27.
2019
Summer Bowie, “Walead Beshty: Living Through Objects,” Autre vol. 2, no. 9.
David Behringer, “Walead Beshty: White Shadows,” Design Milk online, November 19.
Anne Verhallen, “Must-See Exhibitions in New York City Nov – Dec,” Arte Fuse online, November 18.
Jan Groover, Photographer: Laboratory of Forms ex. cat. (Lausanne, Switzerland: Musée de l’Elysée Lausanne and Scheidegger & Spiess).
Allie Biswas, “Bending the Rules: Walead Beshty's Ever-Evolving Art Works Question the Possibilities of Systems,” Glass, Autumn.
“Visite Guidèe,” Le magazine du Temps, September 7.
“Cracked Mirror: Walead Beshty Interviewed by John Parton,” Art Monthly, no. 428, July–August.
“Walead Beshty in conversation with Lionel Bovier,” MAMCO Journal, no. 3.
Gülnaz Can, “Travelled, Shredded, Touched and Broken: Walead Beshty at MAMCO, Genève,” WSI Magazine online, June 29.
Etienne Dumont, “Le Mamco genevois expose FedEx grâce à Walead Besthy et ses ‘Travel Pictures’ brisés,” Bilan online, June 19.
Irène Languin, “Walead Beshty, La discipline du hazard,” Tribune de Genève, June 17.
Emmanuel Grandjean, “Au MAMCO, Walead Beshty laisse faire le hazard,” Le Temps, June 8.
Samuel Schellenberg, “L’art et ses aléas,” Le Courrier, May 31.
2018
Emma Bowkett, “Best of 2018: Emma Bowkett, FT Weekend Magazine,” British Journal of Photography online, December 29.
Max Andrews, “Picture Industry: A Provisional History of the Technical Image,” Frieze online, December 20.
Natalie Hegert, “Walead Beshty: In Conversation,” The Seen online, no. 45, November 28.
Jacques Hemon, “Picture Industry: Comment les images techniques créent le monde,” Fisheye November–December.
Bastien Manac’h, “Mistral Gagnant,” Polka 44, Winter.
Christine Coste, “L’image est un sport de combat,” L’œil December.
Céline Gaillard, “Kunst und Systeme—Immer anders, immer gleich,” Kunstbulletin, October.
Emanuele Castellano, “Walead Beshty, Aggregato,” Exibart online, October 15.
Isabelle Appy, “Une radiographie de l’image au parc des ateliers de Luma: Exposition ‘Picture Industry’ parcourt un siècle et demi de clichés et autres,” La Provence, October 14.
"Walead Beshty: Aggregato," Arte, October 2018.
“Walead Beshty: Aggregato,” Cura online.
Renata Caragliano, “Aggregato: il concetto d’arte di Walead Beshty,” La Repubblica, September 22.
Melania Guida, “Walead Beshty, l’autore che ‘distrugge le sue opere,’” Corriere del Mezzogiorno, September 21.
Alessandra Pacelli, “Beshty, ‘Il Mattino’ oltre il tempo,” Il Mattino, September 21.
Simon Knell, The Contemporary Museum: Shaping Museums for the Global Now (London: Routledge).
Michelle Grabner, ed., FRONT International: Cleveland Triennial for Contemporary Art: An American City, ex. cat., 2 vols. (Cleveland, OH: Front Exhibition Company and the Cleveland Museum of Art).
Ben Eastham, “Why a London-Based Gallery is Making Moves to Naples,” The Wall Street Journal online, January 19.
2017
Noam M. Elcott, “Picture Industry,” Artforum, vol. 56, no. 4, December.
Ariel Goldberg, “Picture Industry,” Exhibition Reviews, Art in America, November.
Walead Beshty and William O’Brien, “Almost Like Gambling,” in Conversations with Artists, ed. Heidi Zuckerman (Aspen Art Museum).
Between the Lines: A Coloring Book by Contemporary Artists, Volume 6 (New York: RxArt).
Ginger Gregg Duggan and Judith Hoos Fox, Baggage Claims, ex. cat. (Orlando, FL: Orlando Museum of Art).
Jeffrey Kastner, “Walead Beshty: Petzel Gallery,” Artforum, vol. 55, no. 10, Summer.
“In Conversation: Walead Beshty with Amy Ontiveros,” The Brooklyn Rail, June.
“Goings On About Town: Walead Beshty,” The New Yorker, May 10.
Eloise Maxwell, “Walead Beshty at Petzel Gallery,” Art in America online, The Lookout, May 3.
Mary Rozell and Dieter Buchhart, UBS Art Collection: To Art its Freedom (Berlin: Hatje Cantz).
Philippa Snow, “Walead Beshty,” Modern Matter 12.
Jens Hoffmann, The Arcades: Contemporary Art and Walter Benjamin (New Haven and New York: Yale University Press and The Jewish Museum).
Marcus Verhagen, Flows and Counterflows: Globalisation in Contemporary Art (Berlin: Sternberg Press).
Emma Lewis, Isms: Understanding Photography (London: Bloomsbury).
2016
Homeward: Selections from the Wieland Collection (Atlanta: The Wieland Collection).
Dominic Molon, “Damaged Good,” Manual, Alchemy, Issue 7.
Duro Olowu, Making & Unmaking, ex. cat. (London: Ridinghouse and Camden Arts Centre).
Takashi Murakami’s Superflat Collection—From Shōhaku and Rosanjin to Anselm Kiefer, ex. cat. (Tokyo: Kaikai Kiki Co., Ltd.).
Sharon Johnston, Mark Lee, Desiree Heiss, and Ines Kaag, “On Multiplicity: Sharon Johnston and Mark Lee in conversation with BLESS,” in House Is a House Is a House Is a House: Architectures and Collaborations of Johnston Marklee, ed. Reto Geiser (Basel: Birkhäuser).
Tom Lutz, Los Angeles Review of Books, Spring.
Edward Hanfling, “Auckland Art Gallery’s Space to Dream and Govett-Brewster Art Gallery’s Emanations,” New Zealand Listener online, June 14.
Geoffrey Batchen, Emanations: The Art of the Cameraless Photograph, ex. cat. (New Plymouth, New Zealand: Govett-Brewster Art Gallery and DelMonico Books).
Mary Statzer, ed., The Photographic Object 1970 (Oakland, California: University of California Press).
New Glass Review 37 (Corning, NY: The Corning Museum of Glass).
Carol Eliel, Karole Vail, and Matthew Witkovsky, eds., Moholy-Nagy: Future Present, ex. cat. (New Haven and Chicago: Yale University Press and the Art Institute of Chicago).
Fiona Kearney and Chris Clarke, eds. Everything Must Go: Art and the Market, ex. cat. (Cork, Ireland: Lewis Glucksman Gallery, University College Cork).
Hannah Ghorashi, “‘This Person is Multiple, This Practice is Multiple, and This Might Be Confusing’: A Roundtable Discussion on Frank Stella at the Whitney,” ARTnews online, January 12.
2015
Okwui Enwezor, All the World's Futures: 56 International Art Exhibition. La Biennale di Venezia, ex. cat. (Venice: Marsilio).
Charlotte Cotton, ed., Photography is Magic (New York: Aperture).
Quentin Bajac, Photography at MoMA: 1960 to Now (New York: Museum of Modern Art).
Rachel Heidenry and Eloise Maxwell, “The Great Hall Exhibition Walead Beshty: Impressions,” IFA Contemporary online, December 7.
Rory O’Dea, “Walead Beshty: Work Ethics and Object Aesthetics,” Art Handler Magazine, no. 1.
Phil Taylor, “Old News (Again),” Critic’s Pick, Artforum online, September.
Julie L. Belcove, “The Agitator,” Dujour, Fall.
“The Artists, 40 Under 40 USA,” Apollo: The International Art Magazine online, September 1.
Arllete Solano, “Walead Beshty reutiliza desechos como posibilidades de obras de arte,” Jalisco online, August 28.
Raphaël Pirenne, and Sébastien Biset, eds., Atopolis, ex. cat. (Brussels: Wiels), English/French.
“Morgan Fisher in conversation with Walead Beshty,” Morgan Fisher: Conversations (Aspen: Aspen Art Press).
Dirk Luckow, ed., Picasso in Contemporary Art, ex. cat. (Hamburg and Cologne: Deichtorhallen Hamburg and Snoeck).
Julia Michalska, Jane Morris, Ermanno Rivetti, Pac Pobric, “In the Giardini: Five to see in Okwui Enwezor’s All the World’s Futures,” The Art Newspaper website, May 5.
Travis Diehl, “Walead Beshty: Regen Projects,” Critic’s Pick, Artforum online, March.
Hanna Magauer, “The Magic Touch,” Texte zur Kunst, no. 97, March, German.
Hili Perlson, "Walead Beshty, Capitain Petzel, Berlin,” Frieze d/e, March–April, German/English.
Susan L. Braunstein and Jens Hoffmann, Repetition and Difference, ex. cat. (New York: The Jewish Museum).
Helen Sumpter, “Walead Beshty,” ArtReview, January/February 2015.
Jordan Amirkhani, “Walead Beshty: A Partial Disassembling of an Invention Without a Future at Barbican Center,” Daily Serving online, January 26.
Maxwell Williams, “House of Games: A Look into the World of Walead Beshty,” Art + Auction, January.
Lucy Soutter, “Más allá de la fotografía,” ¿Por qué forografía artística? (Salamanca, Spain: Ediciones Universidad de Salamanca), Spanish.
2014
Tina Kukielski, “Walead Beshty: Petzel Gallery,” Artforum, vol. 53, no. 4, December.
Shaun Caley Regen and Denise Bratton, eds., Regen Projects 25 (Los Angeles: Regen Projects).
Mary Warner Marien, ed., Photography: A Cultural History, 4th ed. (London: Laurence King).
“Walead Beshty at The Curve, Barbican, London” VernissageTV, October 21.
Phillippa Thomas, “World News Today with Zeinab Badawi” BBC World News, October 9.
Mark Brown, “Rubbish Idea: Walead Beshty Artwork Made from Year’s Detritus Goes on Show,” The Guardian online, October 8.
David Matorin, “A Machinery for Living,” Modern Painters, October.
Howard Halle, “Allan McCollum + Walead Beshty,” Time Out New York, September 25–October 1.
Roberta Smith, “Clash of the Items, At a Gallery Near You,” The New York Times, July 25.
Aaron Betsky, “Walead Beshty and the Beauty of Banality at the Petzel Gallery,” Architect Magazine online, August 4.
Martha Schwendener, “A Machinery for Living,” The New York Times, July 18.
Hunter Drohojowska Philp, “Walead Beshty at Regen Projects,” ARTnews online, Summer.
Giuliana Bruno, Surface: Matters of Aesthetics, Materiality, and Media (Chicago and London: University of Chicago Press).
David Pagel, “Review: Walead Beshty's 'Selected Bodies of Work' Gets Repetitive,” Los Angeles Times, March 13.
Lionel Bovier, 10 Years in Art Publishing (Zurich: JRP|Ringier).
Alex Klein, ed., Excursus I–IV, Institute of Contemporary Art, (Philadelphia: University of Pennsylvania).
Kerry Brougher, Russell Ferguson, and Dario Gamboni, Damage Control: Art and Destruction Since 1950, ex. cat. (London: Prestel).
Lucy Soutter, “Beyond Photography,” Why Art Photography? (London and New York: Routledge, 2013).
Sarit Shapira, ed., Babel: Works from the Igal Ahouvi Art Collection, ex. cat. (Tel Aviv: Tel Aviv University).
2013
Jacob Fabricius, POST, ex. cat. (Copenhagen: Kunsthal Charlottenborg).
Nicolas Trembley, “L’atelier—Walead Beshty,” Numéro, December 2013/January 2014.
Eitan Buganim, “Interview with Walead Beshty,” Ha’aretz, November.
Dan Cameron, California Landscape Into Abstraction: Works From The Orange County Museum Of Art, ex. cat. (Newport Beach, CA: Orange County Museum of Art).
Katya Tylevich, “Invisible Transformations,” elephant, no. 17, Winter.
Jens Hoffman, Museum of Modern Art and Western Antiques: Department of Light Recordings: Section IV: Lens Drawings, ex. cat. (Paris: Marian Goodman Gallery).
Lyle Rexler, The Edge of Vision: The Rise of Abstraction in Photography, 2nd edition (New York: Aperture Books), portfolio.
Gwen Allen, “The Unphotographable,” Artforum, vol. 51, no. 9, May.
Pernilla Holmes, “Thinking outside the box,” Financial Times, May 2.
Richard Meyer, “Intimate Collaborations,” Artforum, vol. 51, no. 8, April.
Nicolas Bourriaud, L’ange de l’histoire, ex. cat. (Paris: Ecole Nationale Supérieure des Beaux Arts).
Karel Císař, “Photography after Recession,” Fotograf Magazine, vol. 12, no. 21.
Anne Tschida, “At Bass, Renaissance Lives On,” Miami Herald, February 27.
Suzanne Volmer, “Walead Beshty: Untitled . . . ,” Artscope, February.
Hossein Amirsadeghi, ed., Art Studio America: Contemporary Artist Spaces (London: TransGlobe).
Kathleen Langjahr, “Walead Beshty’s Invisible Networks,” Interventions journal online, Columbia University, November 7.
Rotem Rozental, “Zones of Indeterminacy: An Interview with Walead Beshty,” Shpilman Institute for Photography online, November 25.
Jeffrey Fraenkel,The Unphotographable, ex. cat. (San Francisco, CA: Fraenkel Gallery).
Timothee Chaillou, Only parts of us will ever touch parts of others, ex. cat. (Paris: Galerie Thaddaeus Ropac).
Jackie Higgins, Why It Does Not Have To Be In Focus: Modern Photography Explained (London: Thames & Hudson).
2012
“Transformations Invisibles,” interview with Jérôme Sans, L’Officiel Art, December.
Cathy Lebowitz, ed., “Sensibility of the Times, Revisited,” response to questionnaire, Art in America, December.
Scott Indrisek, “Miami’s Bass Museum Blows the Lid Off Tradition with ‘Endless Renaissance’ Show,” BLOUIN ARTINFO online, December 7.
Zhijie Qiu, ed., Reactivation: 9th Shanghai Biennale, ex. cat. (Shanghai: Shanghai Contemporary Art Museum).
Dennis Szakacs and Dan Cameron, OC Collects, ex. cat. (Newport Beach, CA: Orange County Museum of Art).
Mary Warner Marien, 100 Ideas that Changed Photography (London: Laurence King Publishing).
Daniela Janser and Thomas Seelig, eds., Status: 24 Contemporary Documents, ex. cat. (Zurich: Fotomuseum Winterthur).
Jessie Wender, “'Photographing the Great Recession, Looking Back to the Great Depression,” The New Yorker online, October 13.
Jens Hoffman, When Attitudes Became Form, Become Attitudes, ex. cat. (San Francisco, CA: CCA Wattis Institute).
Aimee Walleston, “Matthew Higg’s Economics of Art,” Art in America online, July.
Sandra Plummer, "Conceptual Photography," Source: The Photographic Review, What is Conceptual Photography?, no. 71, Summer.
Raquel Arnaud and Jacopo Crivelli Visconti, eds., The Revolution Has To Be Done Little by Little, ex. cat. (Sao Paulo, Brazil: Galeria Raquel Arnaud), Portuguese/English.
Jens Hoffman, More American Photographs, ex. cat. (Oakland, CA: California College of the Arts).
Robert Ayers, “Western Bridge Exhibit Looks at the Fleetingness of Time,” Seattle Times, March 16.
Lisa Bradner, “’More American Photographs’ Offers a Glimpse of America’s Recession,” Los Angeles Times, March 10.
Mikkel Carl, This Title is an Artwork of Mine: A Group Exhibition in a Book (Berlin: Revolver Publishing).
Terry Barrett, Criticizing Photographs: An Introduction to Understanding Images, Fifth Edition (New York: McGraw-Hill).
2011
James Nisbet, “Walead Beshty: PROCESSCOLORFIELD,” X-TRA Contemporary Art Quarterly, vol. 14, no. 2.
Jens Asthoff, “Sensitive Material: How Walead Beshty Pushes the Boundaries of the Image,” Camera Austria, no. 115 (German/English, portfolio).
Bob Nickas, “The Phenomenology of Shopping and Dead Malls,” Catalog of the Exhibition 1984–2011 (Los Angeles: 2nd Cannons Publications).
Mark Vanmoerkerke, Collection Vanmoerkerke, (Brussels: Rispoli).
Jan Tumlir, “Walead Beshty: Regen Projects,” Artforum, vol. 50, no. 1, September.
Isabel Lafont, “El Arte de los Lugares de Paso,” El País, June 22, Spanish.
Bea Espejo, “Simples Incidents de Walead Beshty,” El Cultural, June 22, Spanish.
Carlos Primo, “Una Poética de lo Transitorio,” El Mundo, July 15, Spanish.
Fionn Meade, ed., After Images, ex. cat. (Brussels: Musée Juif de Belgique), English/French.
Huang Yikai, “Abstraction in Image, Art and Civilization,” Chinese Photography Magazine, Spring, Mandarin.
Mikkel Carl, “Interview with Walead Beshty,” Malmö Konsthall online, Malmö, Sweden.
Tyler Coburn, “Walead Beshty’s PROCESSCOLORFIELD at Regen Projects II,” Art Agenda online, May 16.
Shana Nys Dambrot, “The Fine Art of the Accident,” LA Weekly, April 14.
Catlin Moore, “Walead Beshty at Regen Projects,” Daily Serving online, April 27.
Catherine Wagley, “Turning a Negative Into a Positive,” LA Weekly, April 28.
Intimate Bureaucracies: Art and the Mail, ex. cat. (Colchester, United Kingdom: University of Essex).
Matthew Witkovsky, “The Last Year in Exhibitions, Photography and Beyond,” Art in America online, January 4.
Richard Buckley, “L.A. à l’art libre,” Paris Vogue, December 2010/January 2011.
2010
“Walead Beshty: American Passages,” Celeste Magazine, Winter.
Thanks for Being with Us: Contemporary Art from the Douglas Nielsen Collection, ex. cat. (Tucson: Tucson Museum of Art).
Montserrat Albores Gleason, “The Traveling Show,” Critic’s Pick, Artforum online.
Roberta Smith, “Art? Life? Must We Chose?” The New York Times, July 1.
Félix Guattari, The Mechanic Unconscious: Essays in Schizoanalysis (Los Angeles: Semiotext(e) / Foreign Agents), cover.
Ory Dessau, Pleated Blinds, ex. cat. (Tel Aviv: Petach Tikva Museum).
Dirk Luckow, ed., I Want to See How You See, ex. cat. (Hamburg: Julia Stoschek Foundation).
Martin Herbert, “Sunless,” Frieze, November.
Anne Wehr, ed., At Home / Not at Home: Works from the Collection of Martin and Rebecca Eisenberg, ex. cat. (Annandale-on-Hudson: Hessel Museum of Art, Center for Curatorial Studies, Bard College).
Julie David, ed., Let’s Dance, ex. cat. (Vitry-sur-Seine: Musée d’Art Contemporain de Val-de-Marne).
Kevin McGarry, “Picture Industry (Goodbye to All That),” Artforum online, August 10.
Laura Hoptman, Yilmaz Dziewior, and Uta Grosenick, eds., The Art of Tomorrow (Berlin: Distanz, 2010).
Suzanne Hudson, “A Very, Very Long Cat: Wallspace Gallery” Artforum, April.
Douglas Fogle, “Brute materiality” Creamier (New York: Phaidon).
Jennifer Blessing and Nat Trotman, eds., Haunted: Contemporary Photography, Video, Performance, ex. cat. (New York: Guggenheim Museum).
Noah Simblist, “Concreteness and Circumstance: Noah Simblist in Conversation with Walead Beshty,” Art Papers, March/April.
Matt Witkovsky, “Another History: On Photography and Abstraction,” Artforum, March.
Shane Lavalette and Michael Bühler-Rose, eds., Lay Flat 02: Meta (Syracuse, New York: Lavalette), portfolio.
Dexter Sinister, Portable Document Format (New York: Lukas & Sternberg Press).
Foam Album 09 (Amsterdam: Foam_Fotografiemuseum Amsterdam).
Ann Philbin, Christopher Miles, James Elaine, and Lauren Bonn, Hammer Projects 1999–2009 (Los Angeles: Hammer Museum).
Alex Gartenfeld, “Walead Beshty’s Revolution Will Be Colorful,” Art in America online, January.
Margaret Iversen, ed., “Walead Beshty: Interview with Nicolas Bourriaud,” Chance, Documents of Contemporary Art: Chance (Boston and London: The MIT Press and Whitechapel).
Infinite Fold, ex. cat. (Paris: Galerie Thaddaeus Ropac).
Antonia Carver, ed., Bidoun Video 2010, ex. cat. (New York: Bidoun).
Sprogøe and Jesper Elg, Copenhagen Photo Festival 2010 (Copenhagen: Copenhagen Photo Festival).
Brooke Hodge, “Seeing Things: Johnston Marklee and Walead Beshty,” New York Times Magazine online, January 7.
2009
Alexander Wolf, “Walead Beshty at the Hirshhorn Museum and Sculpture Garden Washington, D.C.,” Modern Painters, December 2009/January 2010.
Michelle Grabner and Brad Killam, Can I Come Over to Your House: The First Ten Years of The Suburban (Oak Park, IL: Poor Farm Press).
Susan Bright, Auto Focus: The Self-Portrait in Contemporary Art (London: Thames & Hudson).
Davies Colin and Monika Parrinder, eds., Limited Language: Rewriting Design (Basel: Birkhauser).
Janina Ciezadio, “Light Revisited,” Afterimage, November.
Karen Rosenberg, “Into the Darkroom, With Pulleys, Jam and Snakes,” New York Times, November 6.
Vince Aletti, “Big Picture,” Critic’s Notebook, The New Yorker, November 2.
Martin Herbert, “Walead Beshty,” Time Out London, October 23.
Alex Gartenfeld, “Frieze Day One: Pre-Frozen,” Art in America online, October 13.
Martha Schwendener, “Contemporary Art Photographers Mess with the Medium,” The Village Voice, October 13.
Liz Kotz, “The Medium and the Messages,” Artforum, October.
Lyle Rexler, The Edge of Vision: The Rise of Abstraction in Photography (New York: Aperture Books), portfolio.
Jack Hutchinson, “Walead Beshty,” Dazed & Confused, vol. 2, no. 79, September.
A. Moret, “Taste Makers,” ed. Mayer Russ, Los Angeles Times Magazine, July 12.
Blake Gopnik, “Brought into the Fold,” The Washington Post, May 23.
“Walead Beshty and Eileen Quinlan in Conversation,” Bomb Magazine, September.
“Roundtable Discussion on Abstraction and Photography with Christopher Bedford, Walead Beshty, Liz Deschenes, and Eileen Quinlan,” Frieze, no. 125, September, cover.
“The Pier Conversation: Walead Beshty and Olivier Mosset,” Mousse 19, Summer.
Julia Stoschek, ed., Julia Stoschek Collection, Number Two: Fragile, ex. cat. (Düsseldorf: Hatje Cantz).
Edgar Schmitz, “Tate Triennial 2009,” Artforum, vol. 47, no. 9, May.
David Trigg, “Altermodern: Tate Triennial 2009,” Art Papers, May/June.
FIVE: Walead Beshty, Matthew Brannon, Wade Guyton, Sterling Ruby, and Kelley Walker, ex. cat. (Moscow: Baibakov Projects).
Chris Klimek, “Walead Beshty‘s Chroma Keys at Hirshhorn,” Washington Examiner, April 26.
Steve Pulimood, “Popular Mechanics: Walead Beshty,” Art in America online, April.
Chris Goode, “This post is invisible until you read it (part 1 of 2),” Thompson’s Bank of Communicable Desire online, April 11.
Nickolas Lambrianou, “Altermodern: Movement or Marketing?” Mute Magazine, April 23.
Jörg Heiser, “Tate Triennial 2009,” Frieze, no. 122, April.
Sarah-Neel Smith, “Walead Beshty,” Frieze, no. 122, April.
Holly Myers, “Ever Changeable, Ever Surprising: Walead Beshty at LAXART,” Los Angeles Times, April 3.
David Everitt Howe, “The Space of the Work and the Place of the Object,” Art Review, April.
Because I Say So, ex. cat. (Miami: Patricia and Phillip Frost Art Museum, Florida International University, 2009).
“After Materiality and Style,” roundtable discussion, Art in America, April.
“Walead Beshty puts four questions to Karl Haendel,” Modern Painters, April.
Clare Grafik, “Material World,” IANN, vol. 3, March, cover.
“Goings On About Town: Walead Behsty,” The New Yorker, March 30.
Merrily Kerr, “Walead Beshty: Popular Mechanics,” Time Out New York, March 26.
Nicolas Bourriaud, ed., Altermodern: The 2009 Tate Triennial, ex. cat. (London: Tate Publishing).
Michelle Grabner, “Meanwhile, in Baghdad . . . and Black Is, Black Ain’t,” X-TRA Contemporary Art Quarterly, vol. 11, no. 2, Winter.
Etienne Bernard, “Walead Beshty,” Zero Deux, no. 48, Winter.
Charlotte Cotton, The Photograph as Contemporary Art, rev. ed. (London: Thames & Hudson).
2008
Heidi Zuckerman Jacobson, “Pay Attention Mother Fuckers,” Now You See It, ex. cat. (Aspen: Aspen Art Press).
“Beshty’s Possible Triangle,” collaboration with Dexter Sinister, Dot Dot Dot, vol. 17, December, cover.
“Scenes from Tschaicowskistrasse 17 . . . ,” Art Lies, no. 60, Winter, portfolio, 54–60.
Jeffrey Kastner and Sina Najafi, eds., The Book of Stamps (New York: Cabinet Books).
Michelle Menzies, “James Welling/Walead Beshty,” Flash Art International, no. 263, November.
California Biennial 2008, ex. cat. (Newport Beach: Orange County Museum of Art).
“Creativity Now: New York and Sweden 2008,” Tokion, Fall.
“Walead Beshty,” First Person Magazine, The Art Insider, no. 2, Fall 2008, portfolio.
Jan Tumlir, “Walead Beshty: Piece by Piece,” Aperture, no. 192, Fall.
Christopher Bedford, “Walead Beshty at China Art Objects,” Art in America, May.
Jaleh Mansoor, “Matters that Matter: On the Whitney Biennial,” Texte zur Kunst, no. 70, June.
Kenneth Baker, “Review: Highlights from 2008 Whitney Biennial,” San Francisco Chronicle, March 22.
Blake Gopnik, “10 Others to Seek Out at the Whitney Biennial,” The Washington Post, Friday, March 7.
Shamim M. Momin, “Time Change,” 2008 Biennial Exhibition, ex. cat., (New Haven: Yale University Press).
Eric Bryant, “The Indecisive Image,” ARTnews, March, cover.
Andrew Berardini, “Walead Beshty: Science Concrete,” Art Review, no. 20, March.
Nico Machida, “A Look at Walead Beshty,” Artslant online, January–February.
Christopher Miles, “Gallery Roundup: Liebowitz, Beshty, Hoshino, Bon,” LA Weekly, January 23.
Annie Buckley, “Walead Beshty,” Critics’ Picks, Artforum online, January–February.
Gilbert Perlein, the sickness of the hunting, ex. cat. (Nice, France: Musée d’Art Moderne et d’Art Contemporain).
2007
Michelle Grabner, “I am Eyebeam,” Critics’ Picks, Artforum online, November.
Julia Morton, “Eye Candy v. Hard Candy,” artnet online, November 15.
“Special Focus Photography,” Art Review, no. 15, November, portfolio.
“Walead Beshty: Tschaicovskii Strasse 17,” Blind Spot, no. 36, portfolio.
Olga Adelantado, Six Impossible Things Before Breakfast, Four, ed. Shamim M. Momin (Spain: Centro Montehermoso, November).
Martin Coomer, “Anything You Want,” Time Out London, August 31.
Freire Barnes, “Changing Faces,” BBC online, August 31.
“Goings On About Town: Concrete Works,” The New Yorker, July 9 & 16.
Martha Schwendener, “Art in Review: Concrete Works,” The New York Times, July 6.
Ellen Blumenstein and Feliz Ensslin, eds., Between Two Deaths, ex. cat. (Ostfildern: Hatje Cantz).
Holland Cotter, “Art in Review: Spectral Evidence,” The New York Times, February 23.
Lori Cole, “Spectral Evidence,” Critics’ Pick, Artforum online, February.
Hugh Hart, “Hammer Struts its Recent Stuff,” Los Angeles Times, January 14.
Molly Kleiman, “People Sticking Their Heads in Things,” NY Arts Magazine, January/February.
João Ribas, “Emerging Artists: Photography’s Digital Divide,” BLOUIN ARTINFO online, January 23.
2006
Roberta Smith, “Art Review: Menace, Glitter and Rock in Visions of Dystopia,” The New York Times, December 29.
Holland Cotter, “Art in Review: Looking Back, White Columns Annual,” The New York Times, December 1.
David Velasco, “Walead Beshty,” Artforum, vol. 45, no. 4, December.
Jennifer Wulffson Goodell, “Place, Process, and Passage,” X-TRA Contemporary Art Quarterly, vol. 9, no. 2, Winter.
“Dice Thrown (Will Never Annual Chance),” The New Yorker, November 6.
Anne Doran, “Dice Thrown (Will Never Annual Chance),” Time Out New York, November 2.
Roberta Smith, “Art in Review: Dice Thrown (Will Never Annul Chance),” The New York Times, November 3.
Jonathan Mummolo, “Exhibitions: A Museum Gold Rush,” Newsweek, October 30.
Kirsten Schmidt, “Poetic Vision and Abundant Culture,” NY Arts Magazine, September/October.
Dominic Molon, “Walead Beshty,” Vitamin PH (New York: Phaidon Press).
“Walead Beshty,” The New Yorker, October 16.
H. G. Masters, “Walead Beshty: The Maker and the Model,” Artkrush, September 19–25.
Christopher Knight, “The Faces of this Place,” The Los Angeles Times, October 7.
Armetta Amoreen, “Out of the Box: North Drive Press,” Art on Paper, no. 3, October.
Aimee Chang, “Walead Beshty,” The California Biennial, ex. cat. (Newport Beach: Orange County Museum of Art, October).
Christopher Bedford, “Museum Previews: The California Biennial,” Artforum, vol. 45, no. 1, September.
Rachel Kushner, “California’s Rising Art Stars,” C, October.
Kathryn Garcia, “Los Angeles, Walead Beshty, UCLA Hammer Museum,” Bidoun, no. 8, Fall.
Sally O’Reilly, “Studio City,” Frieze, no. 100, June–July.
Lupe Nunez-Fernandez, “Object of the Week NDP3,” Saatchi Art online, July 26.
Christopher Bedford, “Walead Beshty,” Critics’ Pick, Artforum online, May.
Helen Sumpter, “Exhibition Review: Studio City at Pescali & Sprovieri,” Time Out London, March 29–April 5.
Grace Glueck, “Art in Review: The New City: Sub/Urbia in Recent Photography,” The New York Times, January 6.
Christopher Balaschak, “Exhibition Review: Walead Beshty at China Art Objects,” Frieze, January/February.
Lauri Firstenberg, “Exhibition Review: The Backroom,” Frieze, January/February.
Brian Ackley, “New York, Sub/urbia in Recent Photography, Whitney Museum of American Art,” Bidoun, no. 6, Winter.
2005
Robert Klara, “Domestic Anxiety,” Architecture Magazine online, November.
“The New City: Sub/Urbia in Recent Photography,” The New Yorker, October 3.
Michael Wilson, “Post No Bills,” Artforum, vol. 44, no. 2, October.
Magali Arriola, “A Victim and a Viewer: Some Thought on Anticipated Ruins,” Afterall, no. 12, Fall.
Jennifer Snow, “The Very Best of the Fall Arts Season: The New City: Sub/Urbia in Recent Photography,” The Village Voice, September 12–18.
Ben Davis, “August Company,” artnet online, August 26.
Holland Cotter, “Art Listings: Precious Moments,” The New York Times, August 19.
Holland Cotter, “Fanciful to Figurative to Wryly Inscrutable,” The New York Times, July 8.
Daniel Kunitz & João Ribas, “The Art Review 25: Emerging US Artists,” ArtReview, April.
Joe Scanlan, “First Take: Walead Beshty,” Artforum, January.
Philipp Ekardt, “The Phenomenology of Fondling: Shopping,” NY Arts Magazine, vol. 10, no. 1/2, January/February.
2004
Jeffrey Kastner, “Walead Beshty: Wallspace,” Artforum, December 2004.
João Ribas, “The Faces of the Future,” ArtReview, International Edition, vol. 2, no. 7, 87.
Vince Aletti, “Voices Choices: Walead Beshty,” The Village Voice, October 6–12.
“Goings On About Town: P.S.1 Contemporary Art Center: Walead Beshty,” The New Yorker, September 6.
Roberta Smith, “Art Listings: P.S.1 Contemporary Art Center,” The New York Times, July 23.
Roberta Smith, “Art Review: Summertime at P.S.1: Where Opposites Like Hands On / Hands Off Attract,” The New York Times, July 16.
Joel Smith, “Curators Choice: Walead Beshty, Absent Self-Portrait #3 (Age Progressions),” Art at Vassar, Spring.
Gérard Selbach, “Buy American,” Paris-Art online, April 24.
Holly Meyers, “Review: Cool Intentions,” The Los Angeles Times, February 27.
JoAnne Silver, “Visual Arts; Contemporary Self-Portraits Echo Life Views at DeCordova,” The Boston Herald, February 13.
Randi Hopkins, “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.
Rachel Rosenfeld Lafo, Francine Weiss, and George Fifield, Self Evidence: Identity in Contemporary Art, ex. cat. (Lincoln, Mass: DeCordova Museum and Sculpture Park).
2003
Vince Aletti, “Listings: Antisocial,” The Village Voice, February.
D. Dominic Lombardi, “Armed With Cameras, Seeking Different Types of Truth,” The New York Times, March 30.
Theresa Bembnister, “Photo Realism: Seven Photographers Capture the Moments of Our Lives,” The Pitch, April 10.
Walter Robinson, “Weekend Update,” artnet online, February 3.
ESSAYS
2023
“Apparatus,” in The Art Institute of Chicago Field Guide to Photography and Media, Antawan I. Byrd, Elizabeth Siegel, and Carl Fuldner, eds. (Chicago: Art Institute of Chicago, 2023).
2019
“Unsung Heroes: Walead Beshty on José Clemente Orozco,” Tate Etc. 45.
2018
“The Commons in the Age of Its Technological Reproducibility,” in Picture Industry: A Provisional History of the Technical Image, 1844–2018, ed. Walead Beshty, ex. cat. (Zurich: JRP|Ringier, CCS Bard, and Luma Foundation, 2018).
“Improvisation and the Agency of the Commons: Notes on Counterfeiting as a Form of Radical Speech,” in Always Different, Always the Same: An Essay on Art and Systems, ex. cat. (Chur, Switzerland: Bündner Kunstmuseum Chur).
2017
“Skin Flicks,” Torbjørn Rødland: The Touch That Made You, ex. cat. (London: Serpentine Galleries and Koenig Books).
"Under the Big Black Sun: California Art 1974–1981,” The Exhibitionist: Journal on Exhibition Making: The First Six Years, ed. Jens Hoffmann (New York: The Exhibitionist, 2017).
“Topographies of Exchange: Lewis Baltz’s Capitalist Aesthetics,” Lewis Baltz (Göttingen, Germany: Steidl).
Response to the Prompt: “How Important is Art as a Form of Protest?” Frieze, Contemporary Art and Protest, no. 186, April.
2016
“Against Distinction: Photography and Legendary Psychasthenia,” October, vol. 158, Fall.
“Toward an Aesthetics of Ethics,” translated by Omori Toshikatsu, Bijutsu Techo, Contemporary Art Practice, vol. 68, no. 1037, June.
2015
“The Looking-Glass Worlds of an Invention Without a Future: Some Notes on the Possibilities of Photographic Anachronism,” Camera of Wonders, ex. cat. (San Francisco: Kadist Art Foundation).
“The Story of O: Gesture in the Work of Laura Owens,” Laura Owens (London: Rizzoli).
“Toward an Aesthetics of Ethics,” Ethics, Documents of Contemporary Art (Cambridge, MA and London: MIT Press and Whitechapel Gallery).
“Lesson: Notes for an Introductory Lecture,” Akademie X: Lessons in Art + Life (London: Phaidon Press Ltd.).
2014
“The Ritual of Everyday Life: On the Migrating Objects of Jay DeFeo,” Jay DeFeo (New York: Mitchell-Innes & Nash).
2012
“In Medias Res,” Sharon Lockhart | Noa Eshkol, ex. cat. (Berlin/Vienna: Sternberg Press/TBA21).
“Under the Big Black Sun: California Art 1974–1981,” The Exhibitionist, no. 5, January.
“Conventions, Conditions, and Practices of Photography Conceived as a System of Relations,” “Notes on Photography and Loss,” “The Question of a Medium’s Identity,” “Aesthetics and Distribution Case (1): Preliminary Notes on Art’s Ability to Radicalize Academia,” and “Toward a Museum of Convention,” Still Searching: An Online Discourse on Photography, Fotomuseum Winterthur, blog.fotomuseum.ch.
“The Whiteness of the Whale,” The Painting Factory: Abstraction after Warhol (Los Angeles: Museum of Contemporary Art).
2011
“The Whiteness of the Whale: ‘Kelley Walker, Untitled, 2011,’” exhibition poster text produced on the occasion of the exhibition, Kelley Walker, Untitled, 2011, Redling Fine Art, Los Angeles, 2011.
“Stumped, 2005” with Eric Schwab, Ruins, Documents of Contemporary Art, ed. Brian Dillon, (Boston and London: The MIT Press and Whitechapel). Extracted from “Stumped: What Remains of the Thousand-Year Reich?” in Cabinet, no. 20, Winter 2005–6.
“In Camera: On Luisa Lambri’s Haptic Eye,” Luisa Lambri: Interiors, ex. cat. (Madrid: Ivorypress), English/Spanish.
2010
“The Caption as a Mind-Meld,” “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,” “Abstractions Made by My Hand with the Assistance of Light,” Portable Document Format (New York: Lukas & Sternberg Press).
“Statement, 2009,” Documents of Contemporary Art: Chance, ed. Margaret Iverson (Boston and London: The MIT Press and Whitechapel).
“Toward a Minor Photography: Annette Kelm’s Discrete Cosmologies,” Parkett, no. 87.
“Studio Narratives,” Studio Reader, eds. Michelle Grabner and Mary Jane Jacob (Chicago: University of Chicago Press).
“Abstracting Photography,” Words Without Pictures, eds. Charlotte Cotton, Alex Klein, 2nd Edition, (Los Angeles: LACMA Books, 2010).
2009
“Itself Feels Like the Last of Something,” Dot Dot Dot, vol. 19, Winter.
“Itself Feels Like the Last of Something,” First/Last Newspaper, no. 5, November 18.
“Preliminary Remarks on the Persistence of Allegorical Critique,” Statements on Contemporary Art, Texte zur Kunst, no. 74, June, English/German.
“On the Conditions of Production of the Multi-Sided Pictures Works (2006–2009),” The Edge of Vision: The Rise of Abstraction in Photography, Lyle Rexer, ed., (New York: Aperture Books).
“Abstracting Photography,” Words Without Pictures, eds. Charlotte Cotton, Alex Klein (Los Angeles: LACMA Books).
2008
“The Caption as a Mind-Meld,” Dot Dot Dot, vol. 17, December.
“On the Ground: Los Angeles,” Artforum, vol. 47, no. 4, December.
“On American Ingenuity (and the Problem of the Readymade),” Afterall, no. 17, Spring.
“Parallax View: on Michael Asher at the Santa Monica Museum of Art,” Texte zur Kunst, no. 70, May, English/German.
“Absolu Avec Vache (and the Spectre of the Gun),” Material Presence, ex. cat. (London: Project Space 176).
2007
“Some Transparencies,” Six Impossible Things Before Breakfast, Four, ed. Shamim M. Momin (Spain: Centro Montehermoso).
“Air Made Solid,” Dot Dot Dot, vol. 15, October.
“Tell it Like it Was (A Brief Note on the Appropriation of Radicality),” Art on Paper, January/February.
2006
“Wolfgang Tillmans,” Texte zur Kunst, vol. 16, no. 64, December, English/German.
In Their Own Words: Walead Beshty," New York Foundation for the Arts website, July, www.nyfa.org.
"About a Series of Photographs Made in the Former Iraqi Iraqi Embassy to the Former GDR,” New Ghost Entertainment-Entitled, ex. cat. (Dresden and Vancouver: Kunsthaus Dresden and Or Gallery).
"L.A. Material: James Welling and Walead Beshty in Conversation," North Drive Press, no. 3.
“A White Cow in a Snowstorm,” Bunch Alliance and Dissolve, ex. cat. (Cincinnati, Ohio: Public Holiday Projects, Contemporary Arts Center).
"How to Take In Sculpture: Jan Timme at Marc Foxx," Texte zur Kunst, March, English/German.
2005
“Annette Kelm’s Discrete Cosmologies,” Stipendium, ex. cat., (Hamburg, Germany: Kunstverein in Hamburg), English/German.
“The Colossus: The Remains of the Triumph Arch in Berlin” (with Eric J. Schwab), Cabinet 20, Ruins, Fall.
“Toward an Empathic Resistance: Boris Mikhailov’s Embodied Documents,” Afterall, no. 12, Fall.
“The Neo Avantgarde and the Service Industry: The Brave New World of Relational Aesthetics,” Texte zur Kunst, vol. 15, no. 59, September, English/German.
“Piracy at the Docks,” Invisible Hands and the Common Good, exhibition catalogue, Champion Fine Art, Los Angeles, CA.
“Preview of Stephen Shore’s American Surfaces,” Artforum, vol. 44, no. 1, September.
“Reflecting the Canon: Some notes on Tim Davis’ Materialist Contingencies,” Tim Davis: Permanent Collection, Monograph (New York: Nazarelli Press, Fall).
“City Without Qualities: Photography, Cinema, and the Post-Apocalyptic Ruin,” Trouble Journal, Spring, French.
“The Discrete Tastes of the Bourgeoisie: Erlea Maneros’ Temporal Painting,” Meanwhile, in Another Place, ex. cat. (Rekalde, Bilbao: Bizkaiko Foru Aldundia, Spring), English/Basque/Spanish.
"Rachel Harrison at SFMoMA," Art Review, March.
2004
“Wilkommen in Irak: Images from the former Iraqi Embassy in the former DDR,” (with Eric Schwab), Cabinet Magazine, Fall.
“City Without Qualities: Photography, Cinema, and the Post-Apocalyptic Ruin,” Site Journal, Spring, English/Swedish.
“Wilkommen in Irak: Images from the former Iraqi Embassy in the former DDR,” (with Eric Schwab), Bidoun, no. 00, Spring.
“Guilt by Association: Mike Kelley’s “Street Credibility” at MoCA,” Aperture Magazine, no. 176, August.
2003
“Subject Without Qualities: From the Cowboy Flanéur to Mr. Smith,” Afterall, no. 8, November.
“City Without Qualities: Photography, Cinema, and the Post-Apocalyptic Ruin,” Influence Magazine, no. 1, October.
“Das Reale an der Rückholfeder: Die Fotografieausstellung ‘Cruel & Tender’ in der Tate Modern, London,” Texte zur Kunst, no. 51, September, German.
“Uncommon Places Revisited: the Unpublished Work of Stephen Shore,” Artforum, vol. 41, no. 9, May.
“Three Models of Collaboration: Ethics and Context in the work of Sarah Martin, Pierre Huyghe, and Trent Harris,” lecture, Hampshire College, Amherst, MA, January.
2002
“Beauty and The Market: Questioning the Rhetoric of Art School,” lecture, Yale University, New Haven, CT.
PUBLIC COLLECTIONS
Art Gallery of New South Wales, Sydney, Australia
Art Institute of Chicago, IL
Baltimore Museum of Art, Baltimore, MD
Fond Régional d’Art Contemporain Nord-Pas de Calais, Dunkerque, France
Frances Lehmann Loeb Art Center, Vassar College, Poughkeepsie, NY
Georgia Museum of Art, University of Georgia, Athens, GA
Guggenheim Museum, New York, NY
Hammer Museum of Art, Los Angeles, CA
Henry Art Gallery, University of Washington, Seattle, WA
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC
Kunst Museum Winterthur, Switzerland
Los Angeles County Museum of Art, Los Angeles, CA
Musée d'art moderne et contemporain, Geneva, Switzerland
Museum of Contemporary Art, Chicago, IL
Museum of Contemporary Art, Los Angeles, CA
Museum of Modern Art, New York, NY
Orange County Museum of Art, Newport Beach, CA
Neuberger Berman Art Collection, New York, NY
Pérez Art Museum Miami, FL
Rose Art Museum, Brandies University, Waltham, MA
San Francisco Museum of Modern Art, San Francisco, CA
Tate, London, United Kingdom
University of Michigan Museum of Art, Ann Arbor, MI
United States Department of State Embassy, Dhahran, Saudi Arabia
United States Department of State Embassy, Islamabad, Pakistan
Utah Museum of Fine Arts, Salt Lake City, UT
Walker Art Center, Minneapolis, MN
Whitney Museum of American Art, New York, NY
Victoria and Albert Museum, London, United Kingdom
ACADEMIC POSITIONS AND PROFESSIONAL APPOINTMENTS
2018–
Faculty, History and Theory, Southern California Institute of Arcitecture, Los Angeles, CA
2008–2017
Associate Professor of Fine Art, Core Faculty, Graduate Art Department, Art Center College of Design, Pasadena, CA
2006–2009
Graduate Faculty, Milton Avery Graduate School of the Arts, Bard College, Annandale-on-Hudson, NY
2007–2008
Visiting Professor in Residence, School of the Art Institute of Chicago, IL
2006–2007
Visiting Faculty, Roski Graduate School of Fine Arts, University of Southern California, Los Angeles, CA
Lecturer, Department of Art, University of California, Los Angeles, CA
Curatorial Board Member, Art 2102, Los Angeles, CA
2005–2007
Full-time Visiting Faculty, Department of Art, California Institute of the Arts, Los Angeles, CA
2005–2006
Visiting Faculty, Department of Critical Studies, California Institute of the Arts, Los Angeles, CA
2002–2006
Lecturer, Department of Art, University of California, Los Angeles, CA
2003–2005
Visiting Artist, Department of Art, California Institute of the Arts, Los Angeles, CA
Lecturer, Department of Art, University of California, Irvine, CA
GUEST LECTURES AND VISITING ARTIST POSITIONS
2024
Visiting Artist and Artist Lecture, Department of Art, University of California, Riverside, CA
2023
Artist Lecture, Department of Art, University of California Los Angeles, CA
In conversation with Urs Stahel on the occasion of Walead Beshty: Industrial Portraits, MAST Foundation, Bologna, Italy
2022
Artist Lecture, and in conversation with Pamela M. Lee, Art+Media Project series, Department of the History of Art, Yale University, New Haven, CT
2021
American senior artist, Terra Summer Residency, Terra Foundation for American Art, Giverny, France
Lectures, “Systems, Circulation, and Noise: ‘Apparatus Thinking’ and the Politics of the Parasite,” and “Conceptualizing the Aesthetic Commons,” Terra Foundation for American Art, Giverny, France
Lecture, “Stochastic Messages, Latent Images, and Emergent Forms: Considering the Aesthetic Implications of Noise,” and symposium panelist, “Images, médiums, médias,” Les conversations du Jeu de Paume, Jeu de Paume, Paris, France
Seminar, “After the Ends: Cinema and Post-Apocalyptic Fantasy,” Zurich University of the Arts, Switzerland
Artist Lecture, Zurich University of the Arts, Switzerland
In conversation with Kavior Moon, On Track series, Southern California Institute of Architecture, Los Angeles, CA
In conversation with Dieter Schwarz on the occasion of Walead Beshty: Foreign Correspondence (October 1, 2012–January 14, 2021), Galerie Eva Presenhuber, Zurich, Switzerland
In conversation with Lynn Kost on the occasion of Walead Beshty: Standard Deviations, Kunst Museum Winterthur, Switzerland
2020
In conversation with Marrikka Trotter, On Track series, Southern California Institute of Architecture, Los Angeles, CA
2019
Lecture on Picture Industry: A Provisional History of the Technical Image (1844–2018) on the occasion of Forums on Contemporary Photography, Musuem of Modern Art, New York, NY
Artist lecture, Southern California Institute of Architecture, Los Angeles, CA
2018
Seminar, Ecole Nationale Supérieure de la Photographie, Arles, France
In conversation with Lynn Kost on the occasion of Always Different, Always the Same: An Essay on Art and Systems, Bündner Kunstmuseum Chur, Switzerland
In conversation with Hamza Walker on the occasion of Equivalents, Regen Projects, Los Angeles, CA
2017
In conversation with Urs Stahel on the occasion of the Biennial of Photography on Industry and Work, Foto/Industria, MAST Foundation, Bologna
Artist lecture, Summer Series, Anderson Valley Ranch, Snowmass Village, CO
In conversation with Noam M. Elcott and Bernhard Siegert on the occasion of the launch of Walead Beshty: Procedurals, Petzel 2014–2017, published by DISTANZ, at Petzel Gallery, New York, NY
Lecture on the work of László Moholy-Nagy on the occasion of Moholy-Nagy: Future Present, Los Angeles County Museum of Art, Los Angeles, CA
Artist lecture on the occasion of Progressive Praxis, De La Cruz Collection Contemporary Art Space, Miami, FL
2016
Lecture on August Sander’s The Last People for the symposium, “The August Sander Project,” Museum of Modern Art, New York, NY
Lecture on the work of Michael Asher, “Artists on Artists: Walead Beshty,” The Museum of Contemporary Art, Los Angeles, CA
In conversation with George Baker, Johanna Burton, and Liam Gillick on the occasion of the launch of Walead Beshty: 33 Texts: 93,614 Words: 581,035 Characters: Selected Writings (2003–2015), Positions Series, published by JRP|Ringier and Les presses du reel, at Printed Matter, New York, NY
In conversation with George Baker on the occasion of the launch of Walead Beshty: 33 Texts: 93,614 Words: 581,035 Characters: Selected Writings (2003–2015), Positions Series, published by JRP|Ringier and Les presses du reel, at Regen Projects, Los Angeles, CA
In discussion with Keltie Ferris, Jordan Kantor, and Sarah Morris “Working Space: Contemporary Artists on Frank Stella,” on the occasion of Frank Stella: A Retrospective, Whitney Museum of American Art, New York, NY
2015
Artist lecture, School of Art, Yale University, New Haven, CT
In conversation with Johanna Burton on the occasion of Walead Beshty, Great Hall Exhibition, Institute of Fine Arts, New York University, New York, NY
Keynote: Walead Beshty in conversation with Liam Gillick on the publication, Ethics, Documents of Contemporary Art, ed. Walead Beshty, at the Contemporary Artists’ Books Conference, 10th Annual Printed Matter’s NY Art Book Fair, MoMA PS1, New York, NY
Artist lecture, Programa Anual de Open Studios, Museo Taller José Clemente Orozco, Guadalajara, Mexico
In conversation with Renzo Martens and Eyal Weizman on the occasion of the launch of Ethics, Documents of Contemporary Art, ed. Walead Beshty, published by the Whitechapel Gallery and MIT press, at Whitechapel Gallery, London, United Kingdom
Symposium panelist with Viktoria Binschtok, Arthur Ou, and James Welling, “Photography and Philosophy,” Los Angeles County Museum of Art, Los Angeles, CA
2014
In conversation with Brian Dillon on the occasion of Walead Beshty: 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, United Kingdom
Lecture on the work of Jay DeFeo on the occasion of Jay DeFeo, Mitchell-Innes & Nash, New York, NY
In conversation with Douglas Fogle and Jean-Luc Moulène, introduction by Philippe Vergne, “2014 Sound and Vision: The Conversations” Paris Photo, Paramount Pictures Studios, Los Angeles, CA
In conversation with Philipp Kaiser on the occasion of Selected Bodies of Work, Regen Projects, Los Angeles, CA
2013
Lecture on the work of Jay DeFeo on the occasion of Jay DeFeo: A Retrospective, Whitney Museum of American Art, New York, NY
Visiting artist and lecture series on the occasion of On the Matter of Abstraction (figs. A&B), curated in collaboration with Christopher Bedford, Rose Art Museum, Brandeis University, Waltham, MA
In conversation with Nicolas Bourriaud on the occasion of Ange de l’Histoire, Ecole Nationale Supérieure des Beaux Arts, Paris, France
Visiting artist, Ecole Nationale Supérieure des Beaux Arts, Paris, France
In conversation with George Baker, Joanna Fiducca, Douglas Fogle, and Alex Kitnick on the occasion of the launch of Blind Spot, no. 46, ed. Walead Beshty, at Regen Projects, Los Angeles, CA
Seminar, Shpilman Institute of Photography, Tel Aviv, Israel
Artist lecture, Tel Aviv Museum of Art, Tel Aviv, Israel
Visiting artist, lecture, and workshops, Tel Aviv University, Tel Aviv, Israel
In conversation with Liz Kotz on the occasion of More American Photographs, California Museum of Photography, University of California, Riverside, CA
2012
In conversation with Silvia Karman Cubiñá, Art|Basel Salon Artist Talks, Bass Museum of Art, Miami Beach, FL
Lecture on the occasion of Excursus III: Ooga Booga, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA
In conversation with George Baker, School of the Art Institute of Chicago, Parlor Room, Chicago, IL
Artist lecture, University of California Los Angeles, CA
Artist lecture, Art Institute of Chicago, IL
Visiting artist and lecture, T. C. Colley Visiting Lecture Series, Rhode Island School of Design, Providence, RI
2011
Artist lecture, Ullens Center for Contemporary Art, Beijing, China
Visiting artist, Skowhegan School of Painting & Sculpture, Skowhegan, ME
2010
Visiting artist lecture, Hammer Museum, Los Angeles, CA
Artist lecture, “Elaine Terner Cooper Education Fund: Conversations with Contemporary Artists,” Solomon R. Guggenheim Museum, New York, NY
Artist lecture on the occasion of Day & Night, Copenhagen Photo Festival, Royal Danish Academy of Fine Arts, Copenhagen, Denmark
Artist lecture, MFA Graphic Design Guest Lecture Series, Otis College of Art and Design, Los Angeles, CA
Fellowship and lecture, Distinguished Visiting Photography Fellow, Pilara Foundation, San Francisco Art Institute, San Francisco, CA
Visiting artist and lecture, California College of the Arts, San Francisco, CA
Artist lecture, Blanton Museum of Art, University of Texas at Austin, TX
Visiting artist, Columbia College Chicago, IL
Juror, McKnight Fellowship for Photographers, Walker Art Center, Minneapolis, MN
In conversation with Eva Respini, Midway Contemporary Art, Minneapolis, MN
Artist lecture, MassArt Photography Lecture Series, Massachusetts College of Art and Design, Boston, MA
Symposium panelist with Vince Aletti, George Baker, Jennifer Blessing, Charlotte Cotton, Geoff Dyer, Philip-Lorca diCorcia, Okwui Enwezor, Peter Galassi, Corey Keller, Douglas Nickel, Trevor Paglen, Kathy Ryan, Blake Stimson, and Joel Snyder, “Is Photography Over?,” San Francisco Museum of Modern Art, San Francisco, CA
Symposium panelist with Terence Riley, James Carpenter, Sharon Johnston, and Mark Lee, moderator: Jeremy Strick, “Blurring the Lines: Art, Architecture and Design,” Third Annual Dallas Design Symposium, Nasher Sculpture Center, Dallas, TX
Panelist with Sharon Johnston, Mark Lee, and T. Kelly Mason, moderator: Helen Varola, “Uncertain Objects: A Panel Discussion on the Confluence of Art, Design, and Architecture,” Pacific Design Center, Los Angeles, CA,
2009
Panelist with Richard Renfro and Lytle Shaw, moderator: Spencer Finch, “Northern Light / Southern Light,” Whitney Museum of American Art, New York, NY
Artist lecture, Meadows Museum, Southern Methodist University, Dallas, TX
Artist lecture, John Morton Lecture in Photography, Birmingham Museum of Art, Birmingham, AL
Artist lecture, Scripps College, Claremont, CA
In conversation with Jacob Proctor on the occasion of Walead Beshty: Pulleys, Cogwheels, Mirrors, and Windows, University of Michigan Museum of Art, Ann Arbor, MI
Panelist with Carter Mull, Erika Vogt, and Elad Lassry, moderator: Aram Moshayedi, “After Materiality and Style,” on the occasion of The Pictures Generation, 1974–1984, Museum of Modern Art, New York, at Art Center College of Design, Pasadena, CA
In conversation with Evelyn Hankins on the occasion of Walead Beshty: Legibility on Color Backgrounds, Hirshhorn Museum and Sculpture Garden, Washington, D.C.
Artist lecture, Paul Brach Lecture Series, California Institute of the Arts, Valencia, CA
2008
In conversation with James Welling, Whitney Biennial Lecture Series, on the occasion of the 2008 Biennial Exhibition, Whitney Museum of American Art, New York, NY
Artist lecture, Graduate School of Fine Arts, School of the Art Institute of Chicago, IL
2007
Panelist, “Meanwhile in Baghdad … ,” on the occasion of Meanwhile in Baghdad … , The Renaissance Society, Chicago, IL
Panelist, “The De-Instrumentalization of Avant-Garde Aesthetics,” on the occasion of Albers and Moholy-Nagy: From the Bauhaus to the New World, Whitney Museum of American Art, New York, NY
Artist lecture, Zentrum fur Kunst und Media, Karlsruhe, Germany
Artist lecture, Kadist Foundation, Paris, France
Artist lecture, Graduate Lecture Series, University of California, Berkeley, CA
Artist lecture, California College of the Arts, San Francisco, CA
Artist lecture, Graduate Lecture Series, Pasadena Art Center, Pasadena, CA
In Conversation: Walead Beshty and Gil Blank, Graduate Lecture Series, University of California, Irvine, CA
2006
Lecture on the occasion of Hammer Project: Walead Beshty, EMBASSY! (a dismal science waiting room), Armand Hammer Museum of Art, Los Angeles, CA
Artist lecture, Orange County Museum of Art, Newport, CA
Panelist with George Baker, Eve Fowler, Arthur Ou, and James Welling, “Chaos or Control,” University of California Los Angeles, School of Architecture and Design, Los Angeles, CA
Symposium panelist, “Fear,” California College of the Arts, San Francisco, CA
Artist lecture, Whitney Museum of American Art, New York, NY
Artist lecture, Bard College, Annandale-on-Hudson, NY
2005
Artist lecture, The Museum of Contemporary Photography, Chicago, IL
Artist lecture, Yale School of Art, New Haven, CT
Visiting artist and lecture, Handtmann Photography Lecture Series, University of Southern California, Los Angeles, CA
2004
Visiting artist and lecture, School of Art, Otis College, Los Angeles, CA
Visiting artist and lecture, School of Art, California Institute of the Arts, Los Angeles, CA
Artist lecture, Department of Art, Art Center College of Design, Pasadena, CA
Panelist and juror, University of California Los Angeles Juried Exhibition, University of California, Los Angeles, CA
2003
Lecture and symposium panelist, SPE West, Conference on the Western Landscape, University of Nevada Reno, NV
Artist lecture, Department of Art, Art Center College of Design, Pasadena, CA
Panelist and juror, University of California Los Angeles Juried Exhibition, University of California, Los Angeles, CA
2002
Guest critic, Undergraduate Senior Project Review, Yale University School of Art, New Haven, CT
Artist lecture, Digital Media Seminar, Bard College, Annandale-on-Hudson, NY
Artist lecture, History of Photography, Yale University School of Art, New Haven, CT
AWARDS
2018
Charles Flint Kellogg Award in Arts and Letters for significant contributions to the American artistic heritage, Bard College, Annandale-on-Hudson, NY