Los Angeles

View of “Walead Beshty,” 2011.

View of “Walead Beshty,” 2011.

Walead Beshty

Regen Projects

View of “Walead Beshty,” 2011.

Around 2006, a transition occurred in Walead Beshty’s work that brought him from the margins of photography-as-art to the center of art photography: the catalyzing “Travel Pictures,” 2006–2008, a group of photographs shot in an abandoned Iraqi embassy in the former GDR using film that, in transit back to the US, became imprinted with the X-ray “eye” of an airport scanner. In the finished images, the record of the machine’s probing rays appears as an abstracting layer of colored bands atop a succession of relatively “straight” documentary views of the derelict embassy to encode a timely aesthetic event: the chance meeting of image-capturing technologies on a border-crossing conveyor belt.

Photographic equivalents of late-modern stripe paintings, Beshty’s new “Black Curl” photograms, 2011–, dominated “PROCESSCOLORFIELD,” the LA-based artist’s first solo show at Regen Projects. Though

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