Tag Archives: Los Angeles County Museum of Art

JOHN BALDESSARI

John Baldessari’s art is cheerfully laconic. It strikes this special tone, broadcast as if on its own frequency, from its beginnings until the present day. Is there a method to it? And, if so, what does it consist of? The simpler answer points to an ever-surprising change in perspective that Baldessari offers his viewers. A slightly shifted view of art, the world, and its image…

But there is more: a daring intellectual feat in his approach, precisely because it includes acting stupid. Baldessari assumes a calculated risk that he will not be understood fully, but with the aim of deriving intellectual profit from that. Bice Curiger*

*Bice Curiger, “Doubly Detached, Doubly Immersed,” in John Baldessari: Pure Beauty (Los Angeles: Los Angeles County Museum of Art, 2009).

John Baldessari was born in National City, California, in 1931 and died on January 2, 2020 at home in Venice Beach.

John Baldessari, from top: Goya Series: And, 1997, courtesy and © the Museum of Modern Art, New York, SCALA/Art Resource, New York; artist unknown [John Baldessari], late 1960s, reproduced in David Antin’s article “John Baldessari,” Studio International, July–August, 1970; Beach Scene/Nuns/Nurse (With Choices), 1991, courtesy Marian Goodman Gallery; Throwing Three Balls in the Air to Get a Straight Line {Best of Thirty-Six Attempts) (detail), 1973, courtesy and © the estate of the artist, Giampaolo Prearo Editore S.r.L.,Galleria Toselli, Milan, and the Research Library, Getty Research Institute, Los Angeles; The Overlap Series: Jogger (with Cosmic Event), 2000–2001; Wrong, 1966–1968, courtesy of Museum Associates, LACMA and Marian Goodman Gallery; Eight Soups: Corn Soup, 2012, (borrowed an image from Henri Matisse, Goldfish and Sculpture, 1912), courtesy of Gemini G.E.L.; Beethoven’s Trumpet , photograph by Andreu Dalmau; Three Red Paintings, 1988, photograph courtesy and © Douglas M. Parker; Tips for Artists Who Want to Sell, 1966–1968, courtesy of the Broad Art Foundation, Santa Monica; Various Shadows, 1984, courtesy of Jim Tananbaum/Prospect Ventures. Images courtesy and © the estate of John Baldessari and Marian Goodman Gallery.

OUT THERE: JOHN DIVOLA AND MARIUS ENGH IN CONVERSATION WITH DOROTHÉE PERRET

John Divola, from Zuma Series, 1977-1978. Courtesy of artist.

John Divola, from Zuma Series, 1977-1978. Courtesy of artist.

In PARIS, LA #11, John Divola, Marius Engh and Dorothée Perret discuss current practice, form, history, and the importance of ambiguity in art.

In 2013, John Divola‘s work was featured in a career-spanning series of exhibitions, titled As Far As I Could Get. It was on view at three Southern California institutions – the Santa Barbara Museum of Art, the Pomona College Museum of Art, and the Los Angeles County Museum of Art. The exhibition at LACMA is still on view until July 6, 2014. Divola’s Zuma Series was also featured in the landmark 2011 survey Under the Big Black Sun: California Art 1974-1981 at the Museum of Contemporary Art in downtown L.A. His images of abandoned beach shacks, featured in issue #11 of PARIS, LA, remain among the most influential – and appropriated – works of 20th Century photography.

Marius Engh is an artist from Norway who shows in galleries across Europe. At the time of his conversation with John Divola and Dorothée Perret he was enjoying his first extended stay in Los Angeles. How objects tell us stories through layers of space and time is the focus of his work.

 

Marius Engh, Lead, Follow or Get the Hell Out of the Way, 1-3/1-14, 2008. Courtesy of the artist and Galerie Emanuel Layr (Photo by Ralf Kliem)

Marius Engh, Lead, Follow or Get the Hell Out of the Way, 1-3/1-14, 2008. Courtesy of the artist and Galerie Emanuel Layr (Photo by Ralf Kliem)