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Art Basel Miami Beach Online Viewing Room

Regen Projects is pleased to present Amalgam, a selection of artworks that speak to our present moment. This diverse grouping is unified by an approach to verbal or visual form that presents the unitary as the fragmented, the whole within the detail, and the sum within the parts. Loosely referencing the title of Theaster Gates’s 2019 exhibition at Palais de Tokyo and Tate Liverpool, Amalgam also has inspired this compendium. Literally an amalgam is the union of disparate objects merged into something new, a chemistry that mixes and blends. 


Representing a large variety of media, scales, and formats, the artworks on view are unified by the differing means through which they present both content and form at once to make meaning from the material ’stuff’ of vision, language, and the world. In so doing, each work wrangles numerous individual elements into a singular composition. Whether through the graphic fragmentation and repetition of language employed in Doug Aitken’s REALITY FRACKING, 2020, the three dimensional collage of Elliott Hundley’s Mirror, 2020, the many distinct elements reflecting a piece of the same image in Anish Kapoor’s Random Triangle Mirror, 2014, language wrought as the wreckage of letter forms in Glenn Ligon’s Study for Debris Field #29, 2018, the many techniques and styles of painting fused into composition in Christina Quarles’s Get Lifted, 2020, or the very amalgam of historical objects and meanings framed as one in Theaster Gates’s Malaga Vitrine #6, 2019, the artworks presented here address our historical moment as something fragmented and disconnected, but nonetheless united and whole in our common experience of dissonance and harmony together and all at once.


Concurrent with the run of the fair, selected works from the OVR will be on view at the gallery. 

Regen Projects is pleased to present Amalgam, a selection of artworks that speak to our present moment. This diverse grouping is unified by an approach to verbal or visual form that presents the unitary as the fragmented, the whole within the detail, and the sum within the parts. Loosely referencing the title of Theaster Gates’s 2019 exhibition at Palais de Tokyo and Tate Liverpool, Amalgam also has inspired this compendium. Literally an amalgam is the union of disparate objects merged into something new, a chemistry that mixes and blends. 


Representing a large variety of media, scales, and formats, the artworks on view are unified by the differing means through which they present both content and form at once to make meaning from the material ’stuff’ of vision, language, and the world, and in doing so wrangle numerous individual elements into a singular composition. Whether through the graphic fragmentation and repetition of language employed in Doug Aitken’s REALITY FRACKING, 2020, the three dimensional collage of Elliott Hundley’s Mirror, 2020, the many distinct elements reflecting a piece of the same image in Anish Kapoor’s Random Triangle Mirror, 2014, language wrought as the wreckage of letter forms in Glenn Ligon’s Study for Debris Field #29, 2018, the many techniques and styles of painting fused into composition in Christina Quarles’s Get Lifted, 2020, or the very amalgam of historical objects and meanings framed as one in Theaster Gates’s Malaga Vitrine #6, 2019, the artworks presented here address our historical moment as something fragmented and disconnected, but nonetheless united and whole in our common experience of dissonance and harmony together and all at once.


Concurrent with the run of the fair, selected works from the OVR will be on view at the gallery. To make an appointment with a sales director please click here.

Gates 2

Theaster Gates
Malaga Vitrine #6 (detail)
2019
Wooden vitrine, glass and various objects
42 x 37 3/4 x 12 1/8 inches (106.7 x 95.9 x 30.8 cm)

Malaga Vitrine #6 engages the history of Malaga. During the 19th century, this small island off the coast of Maine, USA, was home to an ethnically mixed community. In 1912, on the orders of the state governor, Malaga's inhabitants were forcibly removed to the mainland. They were offered no housing, jobs, or support. 

 

The vitrine preserves this fraught historical moment, encasing a partially visible American flag, the broken promise of 40 acres and a mule, along with an African-inspired ceramic mask. 

 

The work was conceived for the artist’s traveling solo exhibition Theaster Gates: Amalgam (Palais de Tokyo, Paris, France, February 20 – May 12, 2019; Tate Liverpool, Liverpool, UK, December 13, 2019 – May 3, 2020).

Gates text

Theaster Gates
Malaga Vitrine #6
2019
Wooden vitrine, glass and various objects
42 x 37 3/4 x 12 1/8 inches (106.7 x 95.9 x 30.8 cm)

Malaga Vitrine #6 engages the history of Malaga. During the 19th century, this small island off the coast of Maine, USA, was home to an ethnically-mixed community. In 1912, on the orders of the state governor, Malaga's inhabitants were forcibly removed to the mainland. They were offered no housing, jobs or support. 

 

The vitrine preserves this fraught historical moment. Encased within is a partially visible American flag, devoid of its smattering of stars suggesting an America without democracy, alongside a stark white African-inspired ceramic mask that conjures a KKK clansman hood, and an excerpt from one of Gates’s poems that references the broken proclamation that granted former slaves 40 acres and a mule. 

 

The work was conceived for the artist’s traveling solo exhibition Theaster Gates: Amalgam (Palais de Tokyo, Paris, France, February 20 – May 12, 2019; Tate Liverpool, Liverpool, UK, December 13, 2019 – May 3, 2020).

Kapoor 2

Anish Kapoor
Random Triangle Mirror
2014
Stainless steel and resin
59 x 59 x 7 5/8 inches (150 x 150 x 19.5 cm)

Kapoor - full view

One of the most influential sculptors of his generation, Anish Kapoor’s work combines the formal concerns of minimalism with concerns for the material and psychical nature of both the object and the self. Known for creating objects that test the phenomenology of space, his highly polished stainless steel sculptures reflect and refract an illusion of the world onto their mirrored surfaces and confound and enhance the viewers’ relationship to the space around them. 

Hundley

Elliott Hundley
Mirror
2020
Oil, encaustic, paper, plastic, pins, photographs, fabric, leather, thread, foam and linen on panel
72 5/8 x 86 1/8 x 4 inches (184.5 x 218.8 x 10.2 cm)

Hundley text

Created from over 20 years of archival material from his studio that includes meticulously cut images taken from various sources, as well as Elliott Hundley’s own choreographed images of friends and collaborators, Hundley utilizes collage and painting to compose constellations of new meaning from this diverse material imbued with his personal sensibility. Through what may at first appear as a fragmented visual chaos, Hundley structures a harmony of details that touch upon historical and personal mythologies, art-history, theatre, and the fractured and various memories, events, and emotional states from which every person is comprised. As Doug Harvey stated in the catalog for Hundley’s travelling solo exhibition in 2011, Elliott Hundley: The Bacchae, “Under Hundley’s meticulously improvisational direction, the formal and pictographic elements collide, combine into molecular configurations of meaning, disintegrate, and recombine, in a process that is analogous to the way our churning human consciousness constantly makes sense out of the flood of phenomena with which it’s confronted.”

Attia banner (bird)

Kader Attia
Mirror Mask
2020
Wooden mask, mirror fragments, black pigment
Artwork Dimensions:
21 1/4 x 6 x 4 3/4 inches (54 x 15 x 12 cm)
Overall Dimensions:
80 x 10 x 10 inches (203.2 x 25.4 x 25.4 cm)

“In 2009, I visited the exhibition Picasso and the Masters at the Grand Palais in Paris, which included works by artists like Caravaggio, El Greco, Paul Cezanne…all of whom influenced Picasso. But there was not a single African mask. We know that African masks clearly influenced Picasso’s Demoiselles d’Avignon and the work of some of his contemporaries such as Georges Braque. Omitting them from this exhibition was an insult to the traditional art of Africa. 

In response to this exhibition the first thing I did was to make a work that simply showed to the audience how Cubism was invented. I took an old mask that I found in a market in Dakar–not a Senegalese one but a copy of a traditional Dogon mask. I plastered on mirror pieces following the angles of the mask. After I had put on five pieces, I looked at the mask and saw myself completely fragmented, so I continued to cover the whole surface. This mirror mask is showing everybody who looks at it a Cubist portrait of themselves. Its reference to the influence of African art on Picasso’s art is very simple and direct.”

–    Kader Attia from “Kader Attia and Ralph Rugoff in conversation” in Kader Attia: The Museum of Emotion, published by Hayward Gallery Publishing, London, UK, page 17

Attia details (bird)
Ligon

Glenn Ligon
Study for Debris Field #29
2018
Etching ink and ink marker on canvas
40 x 32 inches (101.6 x 81.3 cm)

Glenn Ligon’s wide-ranging multimedia art practice encompasses painting, neon, photography, sculpture, print, installation, and video. Perhaps best known for his monochromatic and highly textured text paintings that draw their content from American history, popular culture, and literary works by writers such as James Baldwin, Zora Neale Hurston, Ralph Ellison, Gertrude Stein, and Jean Genet, among others, his work explores issues of history, art history, language, cultural identity, and race.

Ligon’s Debris Field paintings mark a departure for the artist. Rather than generating the work from a specific text, Ligon focuses on letter forms themselves, using images of his own etchings and stencil-and-ink drawings to create silkscreens, which are then printed in etching ink on canvas, and sometimes further redacted in ink marker. Each screen is overlapped to create a dense pattern of letter-based shapes, resulting in an improvisatory, cumulative painting technique.

Glenn Ligon’s wide-ranging multimedia art practice encompasses painting, neon, photography, sculpture, print, installation, and video. Perhaps best known for his monochromatic and highly textured text paintings that draw their content from American history, popular culture, and literary works by writers such as James Baldwin, Zora Neale Hurston, Ralph Ellison, Gertrude Stein, and Jean Genet, among others, his work explores issues of history, art history, language, cultural identity, and race.

Ligon’s Debris Field paintings mark a departure for the artist. Rather than generating the work from a specific text, Ligon focuses on letter forms themselves, using images of his own etchings and stencil-and-ink drawings to create silkscreens, which are then printed in etching ink on canvas, and sometimes further redacted in ink marker. Each screen is overlapped to create a dense pattern of letter-based shapes, resulting in an improvisatory, cumulative abstraction.

Aitken detail

Doug Aitken
Reality Fracking
2020
Wool, wool tweed
76 x 61 inches (193 x 154.9 cm)
Unique

Flags is a new Doug Aitken series of handmade wall hanging works, forms created out of fabric cut from the artist's clothes and collaged into words, sentences and abstractions. The works explore language that create a new topography of ideas of the future and contemplate the coexistence of the natural and man-made worlds. By using clothing to create the compositions and phrases, the works investigate how the individual synchronizes with the present and how we are moving into the future as both individuals and as a society. 

Like the fracking referenced in its title, which is a process of injecting hot liquid deep into the earth to break apart rocks and release the oil and gases held therein, Aitken’s REALITY FRACKING is composed of letterforms broken apart and sewn back together to recompose language as an amalgam of shape and color

Flags is a new body of artwork by Doug Aitken. It is a series of handmade wall hanging works, with layers created out of fabric cut from the artist's clothes and collaged into words, sentences, and abstractions. The works explore language and create a new visual topography of ideas of the future. The phrases contemplate themes of our relationship to the landscape around us and the tactility of the fabric underscores the coexistence of the natural and man-made worlds. They investigate how the individual synchronizes with the present and how we are moving into the future as both individuals and as a society.

Reality Fracking, 2020, is composed of letterforms broken apart and sewn back together to recompose language as an amalgam of shape and color. In a reference to the process of extracting fuel by the destructive process of fracturing the earth, this artwork textually redefines the word to abstractly encompass and reform our ideas on technology and how it is reshaping our way of understanding information. 

Otto-Knapp

Silke Otto-Knapp
Group (Svadebka)
2020
Watercolor on canvas
67 x 59 x 3/4 inches (170 x 150 x 2 cm)

 

Group (Svadebka) continues Silke Otto-Knapp’s interest in the Igor Stravinsky ballet Les Noces choreographed by Bronsilava Nijinska with costumes and sets by Natalia Gontcharova. Using Stravinsky’s working title while writing the ballet’s music, the painting’s title, Svadebka, translates to “wedding” in Russian. Otto-Knapp renders her dancers with subtle washes of watercolor, slowly built up and removed layer by layer on the surface of the canvas to create form. 

Paintings from the same body of work are currently on view in Michael Clark: Cosmic Dancer at the Barbican Centre, London (October 2, 2020 – January 3, 2021). Michael Clark choreographed his own version of Stravinsky’s Les Noces titled I do

Pittman

Lari Pittman
Untitled
2020
Acrylic, Cel-Vinyl, ink, spray paint and Flashe on paper
68 x 90 inches (172.7 x 228.6 cm)

Inspired by commercial advertising, folk art, and decorative traditions, Lari Pittman’s meticulously layered paintings utilize both abstraction and figuration to create scenes fraught with complexity, difference, and desire. Conveying themes of romantic love, societal violence, and mortality, and referencing myriad aesthetic styles from Victorian silhouettes to social realist murals to Mexican “retablos,” Pittman’s open-ended narratives and opulent imagery reflect the rich heterogeneity of our diverse and increasingly global society, the artist’s Colombian-American heritage, and the distorting effects of hyper-capitalism on everyday life. Untitled, 2020, is unique among Pittman’s oeuvre in its deployment of a straightforward grid depicting individual scenes within each panel that are nonetheless related by a common theme, a style reminiscent of religious altarpieces, graphic paneling, or filmmaking storyboarding.

Pierson

Jack Pierson
HERE AND NOW
2020
Aluminum, gold leaf, steel and tin
82 x 68 x 3 inches (208.3 x 172.7 x 7.6 cm

For close to three decades, Jack Pierson has created a multi-disciplinary practice that utilizes the visual languages of photography, painting, drawing, and sculpture to examine themes of memory, desire, longing, absence, despair, and glamour. 

Pierson’s signature large-scale word sculptures are formed from individual found letters salvaged from vintage commercial signage collected by the artist over the years. The sculptures are comprised of individual letters – each one with a distinct color, surface, texture, shape, size, and font – placed together to create incantations of emotionally charged words and poetic phrases.

Opie

Catherine Opie
Kara
2013
Pigment print
Framed Dimensions:
35 x 27 inches (88.9 x 68.6 cm)
Image Dimensions:
33 x 25 inches (83.8 x 63.5 cm)
Edition of 5, 2 AP

Quarles

Christina Quarles
Get Lifted
2020
Acrylic on canvas
84 x 72 inches (213.4 x 182.9 cm)

Informed by her multiply situated identity as a queer woman of mixed race, Christina Quarles’s seductive paintings feature polymorphous figures arranged in contorted positions in space, rendered through expressive and gestural strokes that teeter on the edge of abstraction and representation. Throughout her work, perspectival planes both situate and fragment the bodies they bisect, in much the same way that fixed categories of identity can paradoxically be tools of both marginalization and empowerment. Like all her work, Get Lifted, 2020, is created from a concatenation of disparate painterly techniques that compose her figures into a world all her own.

Quarles details
Larner

Liz Larner
silver's color was not only white but blue
2020
Ceramic, glaze
24 x 37 x 8 inches (61 x 94 x 20.3 cm)

Larner side view

Liz Larner’s ceramic slab sculptures evoke telluric interruptions from the geological depths, incorporating naturally occurring breaks, fissures, cracks, and bends. The ceramic forms support richly chromatic surfaces reminiscent of the earth's shifting crust. The resulting objects, hovering in front of the wall, are painterly and sculptural at once.

Larner detail
Richter

Daniel Richter
Hasparanda (Tyska 3)
2020
Oil on canvas
90 1/2 x 67 inches (230 x 170 cm)

Richter detail

Daniel Richter
Hasparanda (Tyska 3) (detail)
2020
Oil on canvas
90 1/2 x 67 inches (230 x 170 cm)

Hasparanda (Tyska 3), 2020, continues to explore Daniel Richter’s new methodology, which he adopted in 2015, marking a radical shift in his image making. Abandoning a preconceived narrative structure, these works prioritize the gestural and improvisatory possibilities of the medium. Richter’s large-scale compositions are achieved through the use of various techniques of paint application. Subtle gradations of color provide the background onto which oil-stick outlined spectral silhouettes are rendered in thick swathes of color, seemingly taken straight from the tube. The canvases combine a violent tension of abstract elements with propulsive figuration rendered in bold colors. Richter’s work continues the lineage of post-war German painting that more recently includes artists such as Werner Büttner, Martin Kippenberger, and Albert Oehlen. 

Zittel

Andrea Zittel
Single Strand Shapes: Forward Motion (large white star)
2005
Sheep's wool, crocheted

96 1/4 x 102 1/2 x 1/8 inches (244.5 x 260.4 x .3 cm)

Zittel text

Andrea Zittel
Single Strand Shapes: Forward Motion (large white star) (detail)
2005
Sheep's wool, crocheted
96 1/4 x 102 1/2 x 1/8 inches (244.5 x 260.4 x .3 cm)

Long motivated by the complex question of “how to live” and the means by which art is capable of answering that complexity through articulated gestures of creativity, the work of Andrea Zittel bridges art and life to address each as a motivating force for the other. In her Single Strand Shapes made from crochet, Zittel utilizes seemingly simple sets of “permissions” or rules that ultimately manifest as complicated formal objects. Rules such as “90 degree turns only,” “multiple planes,” or in the case of the work presented here, “forward motion only,” are starting points that proceed without any set composition for the finished work, leaving every decision to be made in each moment as long as it qualifies within the prescribed set of original actions. In this way each choice within the work remains distinct as a moment within a process even as it contributes to the completed whole. For Zittel, these patterns and movements share affinities with postmodern dance in their relationship to time and space, forwards and backwards motion, and the use of a structured process to arrive at a completed end. In 2009, Zittel exhibited a series of performances titled Walking Patterns based on the rules for her Single Srand Shapes that became a score for a walking exercise set to the rhythm of a simple percussive soundtrack, the sound of hands clapping.

Zittel 2

Andrea Zittel
Planar Studies: Vast and Specific 12
2020
Watercolor and gouache on paper
Paper Dimensions:
23 x 30 inches (58.4 x 76.2 cm)
Framed Dimensions:
30 1/8 x 37 1/8 x 1 1/2 inches (76.5 x 94.3 x 3.8 cm)

Beshty 2

Walead Beshty
Inverted RA4 Contact Print / Processor Stall (YM: Los Angeles, California, November 9, 2017; Fujicolor Crystal
Archive Super Type C, Em. No. 152-017; Kodak Ektacolor RA Bleach-Fix and Replenisher; Kreonite KM IV 5225
RA4 Color Processor, Ser. No. 00092174; 41717)

2018
Color photographic paper, polished and sandblasted aluminum frame
141 x 101 3/4 x 2 5/8 inches (358.1 x 258.4 x 6.7 cm)

Beshty 2 detail 2

Walead Beshty
Inverted RA4 Contact Print / Processor Stall (YM: Los Angeles, California, November 9, 2017; Fujicolor Crystal
Archive Super Type C, Em. No. 152-017; Kodak Ektacolor RA Bleach-Fix and Replenisher; Kreonite KM IV 5225
RA4 Color Processor, Ser. No. 00092174; 41717)

2018
Color photographic paper, polished and sandblasted aluminum frame
141 x 101 3/4 x 2 5/8 inches (358.1 x 258.4 x 6.7 cm)

Like all of Walead Beshty’s work on photographic paper, these works are a record of the various colored light to which they were exposed in the dark room, but also record the traces of handling (in the form of drips and handprints) that the paper has undergone during exposure due to the color processor stalling while the photograph is in the fixative bath, which causes photographic bleach fixative to come into contact with the print during its development. This contamination results in shifts in color and density (lightness or darkness) in the image and causes chemical imprints of the rollers and guides inside the processing machine to create a chemically based contact print on the surface. The labor, human and machine alike, involving many different hands and mechanical points of contact in the production of the artwork, thus appears recorded photographically within the work itself. The Inverted RA4 Contact Print works continue this procedure, but with two photographic sheets exposed together and processed face-to-face, creating a finished symmetrical imprint on the surface of the paper. As the layers of paper shift while in the processor, the frames are built to accommodate this side-effect of the machine’s operation.

Welling

James Welling
Torso of a youth
2019
UV-curable ink on Dibond
Image Dimensions:
50 1/2 x 33 5/8 inches (128.3 x 85.4 cm)
Framed Dimensions:
52 1/2 x 35 5/8 inches (133.4 x 90.5 cm)
Edition of 5, 2 AP

Cruzvillegas banner

Abraham Cruzvillegas
Vendredi 13 (affirmative, written & told)
2012
Rebar, fabric, chain, feathers and meat
150 x 92 x 65 inches (381 x 233.7 x 165.1 cm)

Cruzvillegas detail

Abraham Cruzvillegas
Vendredi 13 (affirmative, written & told) (detail)
2012
Rebar, fabric, chain, feathers and meat
150 x 92 x 65 inches (381 x 233.7 x 165.1 cm)

Abraham Cruzvillegas’s sculpture Vendredi 13 (affirmative, written & told), 2012, emerges from a short story, El Rebaje, written by the artist. Assembled with various objects from Mexico City and California including fabric, chains, rebar, feathers, and meat, the work brings together the various identities of a cross-cultural connection found in music, and an identity defined by a shared style.

El Rebaje explores the way in which an object has a lasting relationship with its owner. Told from the point of view of his trumpet, Cruzvillegas’s great uncle Miguel Prado journeys through music to escape the town where he grew up, continuing his adventures to Poland, California, and Paris. Prado returns home with only his faithful trumpet and his roots.  

The construction and adornment of the sculpture is based on images and dress of the Parisian Zazous and Californian Zoot Suiters. Drawing source material and inspiration from the culture and music of the Zoot Suit, Zazou, and Pachuco movements, these underground modes of expression share a culture of resistance in which fashion and identity create and construct a temporary notion of the self through style, costume, and ideology. Attire was a way to embody resistance and to defy conformity. Social inequalities and rebellion were marked by way of dress, and once these ideologies failed, the style faded away as the protagonists changed and reverted to some other reality.

Minter detail

Marilyn Minter
Static
2020
Dye sublimation print
64 1/2 x 86 inches (163.8 x 218.4 cm)
Edition of 3, 2 AP
 

Exploding with vivid jewel tones, Marilyn Minter’s palette is imbued with the intensity of this moment. Throughout a career spanning more than three decades, Minter has remained steadfast in her unflinching depictions of women’s bodies and sexuality, exploring what the artist refers to as the culture’s “pathology of glamour.” In images that speak to the dichotomy of female agency and objectification, Minter’s paintings and photographs reveal the fraught nature of contemporary womanhood, as mediated through the aesthetics of art, popular culture, fashion, advertising, and pornography. 

Pettibon wave

Raymond Pettibon
No Title (The Clear-cut brow)
2020
Acrylic, ink, and colored pencil on paper
59 5/8 x 108 inches (151.4 x 274.3 cm)

Pettibon

Raymond Pettibon
No Title (Charlie Parker. Yardbird)
2020
Ink on paper
Artwork Dimensions:
47 x 52 inches (119.4 x 132.1 cm)
Framed Dimensions:
49 3/4 x 54 1/2 x 2 inches (126.4 x 138.4 x 5.1 cm)

Raymond Pettibon’s distinctive style combines pen and ink figuration with hand-inscribed text and collage elements to create incisive works that probe the deeply embedded dualities of American culture. The deep well of sources and influences from which he draws — everything from comics, world history, American politics, and baseball to film noir, literature, and surf culture — coalesce into a lyrical rapture of high and low. His remarkable aesthetic is the result of the brazen approach Pettibon takes to drawing, unconcerned with the slipshod markings and concomitant blots, smears, and retracings that appear in its wake. This outwardly crude manner is underwritten by technical and linguistic mastery — an interplay that has made Pettibon’s work an emblem of countercultural disaffection since he emerged on the art scene in the early 1980s. 

No Title (Charlie Parker. Yardbird), 2020, refers to jazz icon Charlie Parker and his nickname Yardbird. The exuberant jewel-toned octopus splashes into the composition, embodying the accompanying text "Yardbird o’ th’ sea." With his signature wit, Pettibon fuses a jazz legend with the well known advertising slogan "Chicken of the Sea."

Beshty 1

Walead Beshty
I BUY HOUSES FAST EASY CASH ANY CONDITION BANKRUPTCY DIVORCE FORCLOSURE MAJOR REPAIRS ABANDONED INHERITANCE (323) 834-2891; NEED TO SELL YOUR HOUSE? WE BUY HOUSES FAST. CASH. NOW. 714-397-8620; IMMIGRATION Services 323.582-9871 2407 Randolph St., HP; $$$ COMPRO CASAS 310-803-5360; DIVORCE CUSTODY 818-277-4006 Hablamos Espa.ol; WE BUY HOUSES 4 CA$H (323) 314-0403
2020
Cast acrylic, acrylic enamel, vinyl screen ink
18 x 18 x 24 inches (45.7 x 45.7 x 61 cm)

Walead Beshty sign boxes are made from enamel-coated Plexiglas panels screen-printed with exact reproductions of public sign solicitations procured throughout disparate neighborhoods, in the Los Angeles area. The original signs are made to optimize the surface area of the standard screen print, and are standardized to full sheet, half sheet, and quarter sheet dimensions.

The signs represent small businesses who are soliciting individuals in financial or legal distress, often targeting under-served communities in a predatory manner, promising assistance with immigration problems, debt, house foreclosure, divorce, custody, or health issues. The frequency of these signs increased dramatically during the mortgage crisis of 2008, spawning a cottage industry of unregulated businesses (often run from home by those who were put out of work during the same period), and have further proliferated under the increasingly stringent, draconian immigration policies of the Trump administration. 

This work was first exhibited in the artist’s traveling solo exhibition “Standard Deviations” at Kunst Museum Winterthur, Switzerland (January 25–August 9, 2020).

Beshty text 2

Walead Beshty's sign boxes are made from enamel-coated Plexiglas panels screen-printed with exact reproductions of public sign solicitations procured throughout disparate neighborhoods in the Los Angeles area. The original signs are made to optimize the surface area of the standard screen print, and are standardized to full sheet, half sheet, and quarter sheet dimensions.

The signs represent small businesses which solicit individuals in financial or legal distress, often targeting under-served communities in a predatory manner, promising assistance with immigration problems, debt, house foreclosure, divorce, custody, or health issues. The frequency of these signs increased dramatically during the mortgage crisis of 2008, spawning a cottage industry of unregulated businesses (often run from the homes of those who were put out of work during the same period), and have further proliferated under the increasingly stringent, draconian immigration policies of the Trump administration. 

This work was first exhibited in the artist’s traveling solo exhibition Standard Deviations at Kunst Museum Winterthur, Switzerland (January 25 – August 9, 2020).

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Doug Aitken
Reality Fracking
2020
Wool, wool tweed
76 x 61 inches (193 x 154.9 cm)
Unique

$125,000

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Kader Attia
Mirror Mask
2020
Wooden mask, mirror fragments, black pigment
Artwork Dimensions:
18 1/8 x 7 x 6 5/8 inches (46 x 18 x 17 cm)
Overall Dimensions:
77 x 10 x 10 inches (195.6 x 25.4 x 25.4 cm)

SOLD

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Kader Attia
Mirror Mask
2020
Wooden mask, mirror fragments, black pigment
Artwork Dimensions:
21 1/4 x 6 x 4 3/4 inches (54 x 15 x 12 cm)
Overall Dimensions:
80 x 10 x 10 inches (203.2 x 25.4 x 25.4 cm)

SOLD

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Walead Beshty
Inverted RA4 Contact Print / Processor Stall (YM: Los Angeles, California, November 9, 2017; Fujicolor Crystal
Archive Super Type C, Em. No. 152-017; Kodak Ektacolor RA Bleach-Fix and Replenisher; Kreonite KM IV 5225
RA4 Color Processor, Ser. No. 00092174; 41717)

2018
Color photographic paper, polished and sandblasted aluminum frame
141 x 101 3/4 x 2 5/8 inches (358.1 x 258.4 x 6.7 cm)

$100,000

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Walead Beshty
I BUY HOUSES FAST EASY CASH ANY CONDITION BANKRUPTCY DIVORCE FORCLOSURE MAJOR REPAIRS ABANDONED INHERITANCE (323) 834-2891; NEED TO SELL YOUR HOUSE? WE BUY HOUSES FAST. CASH. NOW. 714-397-8620; IMMIGRATION Services 323.582-9871 2407 Randolph St., HP; $$$ COMPRO CASAS 310-803-5360; DIVORCE CUSTODY 818-277-4006 Hablamos Espa.ol; WE BUY HOUSES 4 CA$H (323) 314-0403
2020
Cast acrylic, acrylic enamel, vinyl screen ink
18 x 18 x 24 inches (45.7 x 45.7 x 61 cm)

$50,000

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Abraham Cruzvillegas
Vendredi 13 (affirmative, written & told)
2012
Rebar, fabric, chain, feathers and meat
150 x 92 x 65 inches (381 x 233.7 x 165.1 cm)

$85,000

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Theaster Gates
Malaga Vitrine #6
2019
Wooden vitrine, glass and various objects
42 x 37 3/4 x 12 1/8 inches (106.7 x 95.9 x 30.8 cm)

$250,000

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Elliott Hundley
Mirror
2020
Oil, encaustic, paper, plastic, pins, photographs, fabric, leather, thread, foam and linen on panel
72 5/8 x 86 1/8 x 4 inches (184.5 x 218.8 x 10.2 cm)

$130,000


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Anish Kapoor
Random Triangle Mirror
2014
Stainless steel and resin
59 x 59 x 7 5/8 inches (150 x 150 x 19.5 cm)

£750,000
 

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Liz Larner
silver's color was not only white but blue
2020
Ceramic, glaze
24 x 37 x 8 inches (61 x 94 x 20.3 cm)

$100,000
 

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Glenn Ligon
Study for Debris Field #29
2018
Etching ink and ink marker on canvas
40 x 32 inches (101.6 x 81.3 cm)

SOLD

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Marilyn Minter
Static
2020
Dye sublimation print
64 1/2 x 86 inches (163.8 x 218.4 cm)
Edition of 3, 2 AP

$48,000

Inquire

Catherine Opie
Kara
2013
Pigment print
Framed Dimensions:
35 x 27 inches (88.9 x 68.6 cm)
Image Dimensions:
33 x 25 inches (83.8 x 63.5 cm)
Edition of 5, 2 AP

$25,000

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Silke Otto-Knapp
Group (Svadebka)
2020
Watercolor on canvas
67 x 59 x 3/4 inches (170 x 150 x 2 cm)

SOLD

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Raymond Pettibon
No Title (The Clear-cut brow)
2020
Acrylic, ink, and colored pencil on paper
59 5/8 x 108 inches (151.4 x 274.3 cm)

$1,200,000

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Raymond Pettibon
No Title (Charlie Parker. Yardbird)
2020
Ink on paper
Artwork Dimensions:
47 x 52 inches (119.4 x 132.1 cm)
Framed Dimensions:
49 3/4 x 54 1/2 x 2 inches (126.4 x 138.4 x 5.1 cm)

$100,000

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Raymond Pettibon
No Title (When you're a)
2020
Ink on paper
59 1/4 x 46 1/8 inches (150.5 x 117.2 cm)

$150,000

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Raymond Pettibon
No Title (Back to Earth)
2020
Ink and acrylic on paper
41 3/8 x 29 1/2 inches (105.1 x 74.9 cm)

$55,000

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Jack Pierson
HERE AND NOW
2020
Aluminum, gold leaf, steel and tin
82 x 68 x 3 inches (208.3 x 172.7 x 7.6 cm)

SOLD

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Jack Pierson
BROKE MISERABLE & ALONE
2017
Metal, fiberglass, enamel and plastic
85 x 111 x 4 inches (215.9 x 281.9 x 10.2 cm)

$200,000

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Lari Pittman
Untitled
2020
Acrylic, Cel-Vinyl, ink, spray paint and Flashe on paper
68 x 90 inches (172.7 x 228.6 cm)

$150,000
 

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Lari Pittman
Untitled #15
2008
Acrylic, Cel-Vinyl, and aerosol lacquer on gessoed canvas over panel
52 x 40 inches (132.1 x 101.6 cm)

$200,000

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Christina Quarles
Get Lifted
2020
Acrylic on canvas
84 x 72 inches (213.4 x 182.9 cm)

SOLD
 

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Daniel Richter
Hasparanda (Tyska 3)
2020
Oil on canvas
90 1/2 x 67 inches (230 x 170 cm

SOLD

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James Welling
Torso of a youth
2019
UV-curable ink on Dibond
Image Dimensions:
50 1/2 x 33 5/8 inches (128.3 x 85.4 cm)
Framed Dimensions:
52 1/2 x 35 5/8 inches (133.4 x 90.5 cm)
Edition of 5, 2 AP

$35,000

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Andrea Zittel
Single Strand Shapes: Forward Motion (large white star)
2005
Sheep's wool, crocheted
96 1/4 x 102 1/2 x 1/8 inches (244.5 x 260.4 x .3 cm)

SOLD


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Andrea Zittel
Planar Studies: Vast and Specific 12
2020
Watercolor and gouache on paper
Paper Dimensions:
23 x 30 inches (58.4 x 76.2 cm)
Framed Dimensions:
30 1/8 x 37 1/8 x 1 1/2 inches (76.5 x 94.3 x 3.8 cm)

$30,000

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Doug Aitken
Reality Fracking
2020
Wool, wool tweed
76 x 61 inches (193 x 154.9 cm)
Unique

$125,000

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Kader Attia
Mirror Mask
2020
Wooden mask, mirror fragments, black pigment
Artwork Dimensions:
18 1/8 x 7 x 6 5/8 inches (46 x 18 x 17 cm)
Overall Dimensions:
77 x 10 x 10 inches (195.6 x 25.4 x 25.4 cm)

SOLD

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Kader Attia
Mirror Mask
2020
Wooden mask, mirror fragments, black pigment
Artwork Dimensions:
21 1/4 x 6 x 4 3/4 inches (54 x 15 x 12 cm)
Overall Dimensions:
80 x 10 x 10 inches (203.2 x 25.4 x 25.4 cm)

SOLD

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Walead Beshty
Inverted RA4 Contact Print / Processor Stall (YM: Los Angeles, California, November 9, 2017; Fujicolor Crystal
Archive Super Type C, Em. No. 152-017; Kodak Ektacolor RA Bleach-Fix and Replenisher; Kreonite KM IV 5225
RA4 Color Processor, Ser. No. 00092174; 41717)

2018
Color photographic paper, polished and sandblasted aluminum frame
141 x 101 3/4 x 2 5/8 inches (358.1 x 258.4 x 6.7 cm)

$100,000

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Walead Beshty
I BUY HOUSES FAST EASY CASH ANY CONDITION BANKRUPTCY DIVORCE FORCLOSURE MAJOR REPAIRS ABANDONED INHERITANCE (323) 834-2891; NEED TO SELL YOUR HOUSE? WE BUY HOUSES FAST. CASH. NOW. 714-397-8620; IMMIGRATION Services 323.582-9871 2407 Randolph St., HP; $$$ COMPRO CASAS 310-803-5360; DIVORCE CUSTODY 818-277-4006 Hablamos Espa.ol; WE BUY HOUSES 4 CA$H (323) 314-0403
2020
Cast acrylic, acrylic enamel, vinyl screen ink
18 x 18 x 24 inches (45.7 x 45.7 x 61 cm)

$50,000

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Abraham Cruzvillegas
Vendredi 13 (affirmative, written & told)
2012
Rebar, fabric, chain, feathers and meat
150 x 92 x 65 inches (381 x 233.7 x 165.1 cm)

$85,000

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Theaster Gates
Malaga Vitrine #6
2019
Wooden vitrine, glass and various objects
42 x 37 3/4 x 12 1/8 inches (106.7 x 95.9 x 30.8 cm)

$250,000

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Elliott Hundley
Mirror
2020
Oil, encaustic, paper, plastic, pins, photographs, fabric, leather, thread, foam and linen on panel
72 5/8 x 86 1/8 x 4 inches (184.5 x 218.8 x 10.2 cm)

$130,000


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Anish Kapoor
Random Triangle Mirror
2014
Stainless steel and resin
59 x 59 x 7 5/8 inches (150 x 150 x 19.5 cm)

£750,000
 

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Liz Larner
silver's color was not only white but blue
2020
Ceramic, glaze
24 x 37 x 8 inches (61 x 94 x 20.3 cm)

$100,000
 

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Glenn Ligon
Study for Debris Field #29
2018
Etching ink and ink marker on canvas
40 x 32 inches (101.6 x 81.3 cm)

SOLD

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Marilyn Minter
Static
2020
Dye sublimation print
64 1/2 x 86 inches (163.8 x 218.4 cm)
Edition of 3, 2 AP

$48,000

Catherine Opie
Kara
2013
Pigment print
Framed Dimensions:
35 x 27 inches (88.9 x 68.6 cm)
Image Dimensions:
33 x 25 inches (83.8 x 63.5 cm)
Edition of 5, 2 AP

$25,000

Silke Otto-Knapp
Group (Svadebka)
2020
Watercolor on canvas
67 x 59 x 3/4 inches (170 x 150 x 2 cm)

SOLD

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Raymond Pettibon
No Title (The Clear-cut brow)
2020
Acrylic, ink, and colored pencil on paper
59 5/8 x 108 inches (151.4 x 274.3 cm)

$1,200,000

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Raymond Pettibon
No Title (Charlie Parker. Yardbird)
2020
Ink on paper
Artwork Dimensions:
47 x 52 inches (119.4 x 132.1 cm)
Framed Dimensions:
49 3/4 x 54 1/2 x 2 inches (126.4 x 138.4 x 5.1 cm)

$100,000

Raymond Pettibon
No Title (When you're a)
2020
Ink on paper
59 1/4 x 46 1/8 inches (150.5 x 117.2 cm)

$150,000

Raymond Pettibon
No Title (Back to Earth)
2020
Ink and acrylic on paper
41 3/8 x 29 1/2 inches (105.1 x 74.9 cm)

$55,000

Jack Pierson
HERE AND NOW
2020
Aluminum, gold leaf, steel and tin
82 x 68 x 3 inches (208.3 x 172.7 x 7.6 cm)

SOLD

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Jack Pierson
BROKE MISERABLE & ALONE
2017
Metal, fiberglass, enamel and plastic
85 x 111 x 4 inches (215.9 x 281.9 x 10.2 cm)

$200,000

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Lari Pittman
Untitled
2020
Acrylic, Cel-Vinyl, ink, spray paint and Flashe on paper
68 x 90 inches (172.7 x 228.6 cm)

$150,000
 

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Lari Pittman
Untitled #15
2008
Acrylic, Cel-Vinyl, and aerosol lacquer on gessoed canvas over panel
52 x 40 inches (132.1 x 101.6 cm)

$200,000

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Christina Quarles
Get Lifted
2020
Acrylic on canvas
84 x 72 inches (213.4 x 182.9 cm)

SOLD
 

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Daniel Richter
Hasparanda (Tyska 3)
2020
Oil on canvas
90 1/2 x 67 inches (230 x 170 cm

SOLD

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James Welling
Torso of a youth
2019
UV-curable ink on Dibond
Image Dimensions:
50 1/2 x 33 5/8 inches (128.3 x 85.4 cm)
Framed Dimensions:
52 1/2 x 35 5/8 inches (133.4 x 90.5 cm)
Edition of 5, 2 AP

$35,000

Andrea Zittel
Single Strand Shapes: Forward Motion (large white star)
2005
Sheep's wool, crocheted
96 1/4 x 102 1/2 x 1/8 inches (244.5 x 260.4 x .3 cm)

SOLD


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Andrea Zittel
Planar Studies: Vast and Specific 12
2020
Watercolor and gouache on paper
Paper Dimensions:
23 x 30 inches (58.4 x 76.2 cm)
Framed Dimensions:
30 1/8 x 37 1/8 x 1 1/2 inches (76.5 x 94.3 x 3.8 cm)

$30,000