Tag Archives: John Baldessari

PARKETT — PHOTO

Parkett presents PHOTO, “the first survey exhibition of all photographic works made by artists for the journal over the last three decades. On view at Parkett’s Zurich space, the show includes some ninety works spanning a rarely seen, vast, and diverse range of photographic positions and ideas.”*

“The exhibition follows the evolution of photographic methods in the past three decades, with many of the earlier photographs making use of analog techniques, while digital editing informs the more recent works. Common threads including people and portraiture, landscapes both urban and natural, everyday objects, and abstraction, connect an otherwise expansive range of visual topics.”*

“Many of the works on view combine photographic elements with other media, such as gouache, collage, textiles, installation, or printmaking. Also on view are works, which while similar in terms of media and format, are unique and contain distinct differences within each project. Further exhibition displays include five video works, as well as a selection of artists’ inserts—the specially commissioned 10–12 book page projects published in each issue of Parkett.”*

“You can grab an issue from thirty years ago and see the context. You can grab that context and time. The internet has no historical orientation. You click on an article and you don’t know what context [it was published in]. I think this loss of memory is deplorable.” — Jacqueline Burckhardt, Parkett co-founding editor**

PHOTO

THE FIRST SURVEY OF ALL PHOTOGRAPHIC WORKS MADE BY ARTISTS FOR PARKETT SINCE 1984*

Through September 28.

Parkett Space Zürich

Limmatstrasse 268, Zürich.

**See “Time, Context, Object—The Parkett Story,” PARIS LA 16 (2018).

PHOTO artists include: Tomma Abts, Franz Ackermann, Doug Aitken, Allora/Calzadilla, Francis Alys, Ed Atkins, John Baldessari, Yto Barrada, Vanessa Beecroft, Alighiero e Boetti, Christian Boltanski, Glenn Brown, Angela Bulloch, Maurizio Cattelan, Chuck Close, Tacita Dean, Jeremy Deller, Thomas Demand, Trisha Donnelly, Tracey Emin, Omer Fast, Robert Frank, Katharina Fritsch, Cyprien Gaillard, Ellen Gallagher, Adrian Ghenie, Gilbert & George, Robert Gober, Nan Goldin, Dominique Gonzalez-Foerster, Felix Gonzalez-Torres, Dan Graham, Andreas Gursky, David Hammons, Rachel Harrison, Christian Jankowski, Annette Kelm, Martin Kippenberger, Jeff Koons, Jannis Kounellis, Lee Kit, Zoe Leonard, Liu Xiaodong, Paul McCarthy, Marilyn Minter, Tracey Moffatt, Jean-Luc Mylayne, Bruce Nauman, Gabriel Orozco, Richard Phillips, Sigmar Polke, Richard Prince, RH Quaytman, Charles Ray, Jason Rhoades, Pipilotti Rist, Ugo Rondinone, Mika Rottenberg, Thomas Ruff, Anri Sala, Wilhelm Sasnal, Gregor Schneider, Shirana Shahbazi, Cindy Sherman, Roman Signer, Dayanita Singh, Hito Steyerl, Beat Streuli, Thomas Struth, Sturtevant, Hiroshi Sugimoto, Sam Taylor-Wood, Diana Thater, Rosemarie Trockel, Wolfgang Tillmans, Danh Vo, Charline von Heyl, Jeff Wall, Andy Warhol, Lawrence Weiner, Christopher Wool, and Yang Fudong.

Parkett editions, from top: Doug Aitken, Decrease the Mass and Run like Hell, 1999, for Parkett 57; Vanessa Beecroft, untitled, 1999, for Parkett 56; Andy Warhol, untitled, 1987, for Parkett 12, 1987; David Hammons, Money Tree, 1992, for Parkett 31; Wolfgang Tillmans, Parkett edition 1992–1998, for Parkett 53; Trisha Donnelly, The Dashiell Delay, 2006 (2), for Parkett 77; Shirana Shahbazi, Composition with Mountain, 2014, for Parkett 94; Sigmar Polke, Desastres und andere bare Wunder, 1982–1984, for Parkett 2; Cindy Sherman, untitled, 1991, for Parkett 29; Jannis Kounellis, untitled, 1985, for Parkett 6; Tracey Emin, Self-Portrait, 12.11.01, for Parkett 63; Franz Ackermann, Peak Season, 2003, for Parkett 68. Images courtesy and © the artists and Parkett.


PORTABLE ART AT HAUSER & WIRTH

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Organized by Celia Forner, Hauser & Wirth presents the Portable Art Project in Los Angeles, an exhibition of wearable objects commissioned from a range of artists, including Louise Bourgeois, John Baldessari, Phyllida Barlow, Stefan Brüggemann, Subodh Gupta, Mary Heilmann, Andy Hope 1930, Cristina Iglesias, Matthew Day Jackson, Bharti Kher, Nate Lowman, Paul McCarthy, Caro Niederer, Michele Oka Doner, Pipilotti Rist.

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PORTABLE ART, through August 12.

HAUSER & WIRTH LOS ANGELES, 901 East 3rd Street, downtown Los Angeles.

hauserwirth.com/portable-art-project-celia-forner

From top, work by Phyllida Barlow, Mary Heilmann, John Baldessari (2), and Stefan Brüggemann.

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MARILYN MINTER — ANGER MANAGEMENT

2018 is an election year, a chance to end Republican control of Congress.

Educate, organize, resist, register, vote…

… and check out the selection from Marilyn Minter and Andrianna Campbell’s ANGER MANAGEMENT, a pop-up featuring resistant work by John Baldessari, Black Women Artists for Black Lives Matter, Zoe Buckman, Nicole Eisenman, Charles Gaines, Jenny Holzer, Rashid Johnson, Joan Jonas, Barbara Kruger, Glenn Ligon, Robert Longo, Laura Owens, Jack Pierson, Mary Ping, Faith Ringgold, Laurie Simmons, Rirkrit Tiravanija, and many others.

A portion of the proceeds will go to charity and to the Brooklyn Museum.

shop.brooklynmuseum.org/marilyn-minter-resist-t-shirt

 

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EXHIBITION: JOHN BALDESSARI AT MARIAN GOODMAN

“Early Work” at Marian Goodman Gallery in Paris comprises examples from most of Baldessari’s major series.
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BIRD #1, 1962

Bird #1, 1962, the earliest work in the exhibition, presents an image of a bird falling through the picture plane. Again, an early example of Baldessari’s use of cropping for dramatic effect, the bird has been cut in such a cinematic way as to suggest its falling through the air. Bird #1 belongs to a small group of paintings that escaped destruction, when on July 24 1970 Baldessari decided to ceremoniously cremate 125 works, including many oil paintings, made between 1953 and 1966.

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THE ARTIST HITTING VARIOUS OBJECTS WITH A GOLF CLUB, 1972-73 30 COLOR PHOTOGRAPHS

 

Following Baldessari’s seminal statement “I will not make any more boring Art”, he conceived the work The Artist Hitting Various Objects with a Golf Club, 1972-73, composed of 30 photographs of the artist swinging and hitting with a golf club objects excavated from a dump, as a parody of cataloging rather than a thorough straight classification.

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SPACE, 1966-68 (172.7 X 144.8 CM)

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PORTRAIT: VARIOUS IDENTITIES HIDDEN WITH NAME / DATE CARDS (4 MR. 74), 1974 6 BLACK AND WHITE PHOTOGRAPHS (35.24 X 27.94 CM)

Portrait: Various Identities Hidden With Name/Date Cards, 1974 echoes the work Portrait: Artist’s Identity Hidden with Various Hats, 1974, a work in the collection of LACMA, Los Angeles, which illustrates the recurrence of portraits with faces obscured by domestic objects or spots of varying colours. For Baldessari faces dominate our interaction and communication and “If art is a mystery, then the face is a betrayer and should be hidden”.

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GOYA SERIES: THIS, THAT, OR THE OTHER, 1997 INKJET PRINT, ACRYLIC ON CANVAS

Art historical references appear throughout John Baldessari’s practice, as evidenced by the work in the exhibition from the Goya Series; Goya Series: THIS, THAT, OR THE OTHER, 1997 in which we see black and white images of everyday objects; a paper clip, bouquet of flowers, and apple, juxtaposed with titles taken from The Disasters of War the 82 prints created between 1810 – 1820 by Francisco Goya.

 

John Baldessari was born in 1931 in National City, California; he lives and works in Santa Monica, California.

Until April 11th at Marian Goodman Gallery.

(text from Marian Goodman Gallery)

JOHN BALDESSARI – SCENE ( ) / TAKE ( )

 

(image www.galeriegretameert.com)

(image www.galeriegretameert.com)

JOHN BALDESSARI – SCENE ( ) / TAKE ( )

Galerie Greta Meert, Brussels

Exhibition on view until June 28, 2014

John Baldessari lives and works in Santa Monica. His photographic works undermine the conventional language of  images. Drawing on visual material from the cinema, newspapers and movie stills, he has described his photomontages as “blasted allegories,” shards and fragments of possible meanings that lend themselves to on-the-spot interpretation. Rooted in conceptual art, Baldessari’s practice continues to evince the artist’s interest in the relationship between image and language, in absurdity, banality, and in Freudian associations. In his work, atrocious images incite laughter, and triteness takes on a tragic dimension.

(image www.galeriegretameert.com)

(image www.galeriegretameert.com)

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(image www.galeriegretameert.com)