John Anthony Baldessari (born June 17, 1931) is an American conceptual artist known for his work featuring customizable photographs and pictures. He lives and works in Santa Monica and Venice, California.
Originally a painter, Baldessari began combining text and photography into his canvas in the mid-1960s. In 1970 he began working in the fields of graphic arts, film, video, installation, sculpture and photography. He has created thousands of works that show - and, in many cases, combine - the narrative potential of the image and the strength of the associative language within the boundaries of the artwork. His art has been featured in more than 200 solo exhibitions in the US and Europe. His work influenced Cindy Sherman, David Salle, Annette Lemieux, and Barbara Kruger.
Video John Baldessari
Education
- 1949-53 B.A., San Diego State College, California.
- 1954-55 University of California, Berkeley.
- 1955 University of California, Los Angeles.
- 1955-57 M.A., San Diego State College, California.
- 1957-59 Otis Art Institute, Los Angeles.
- Chouinard Art Institute, Los Angeles.
Maps John Baldessari
Early life and career
Baldessari was born in National City, California to Hedvig Jensen, a Danish nurse, and Antonio Baldessari, a rescue of secondhand goods from Italy. Baldessari and her sister grew up in Southern California. He studied at Sweetwater High School and San Diego State College. Between 1960 and 1984, he married a Montessorian teacher Carol Ann Wixom; they have two children.
In 1959, Baldessari began teaching art in the San Diego school system. He continued to teach for nearly three decades, in junior and college schools and colleges, and finally at university level. When the University of California decided to open a college in San Diego, the new head of Visual Arts Department, Paul Brach, asked Baldessari to be part of the faculty of origin in 1968. At UCSD he shared an office with David Antin. In 1970, Baldessari moved to Santa Monica, where he met many artists and writers, and began teaching at CalArts. His first class includes David Salle, Jack Goldstein, Mike Kelley, Ken Feingold, Tony Oursler, James Welling, Barbara Bloom, Matt Mullican, and Troy Brauntuch. While at CalArts, Baldessari taught "the famous Post Studio class," which he meant to "show people not fencing the canvas or throwing away stones, that there might be some kind of classroom situation." Classes, operating outside of medium specificity, are very influential in informing the context for handling student art practices at CalArts. He stopped teaching at CalArts in 1986, moved to teach at UCLA, which continued into 2008. At UCLA, his students included Elliott Hundley and Analia Saban.
Work and theme
Initial text painting
In 1966, Baldessari used photographs and text, or just text, on canvas. His earliest primary work was an empty canvas painting but for a painted statement derived from contemporary art theory. Early efforts from Baldessari included hand-painted phrases, "Suppose that's true? WHAT THEN?" (1967) on highly painted painted surfaces. However, this is proved to be personally disappointing because the forms and methods contradict the use of the objective language that he loves to use. Baldessari decided the solution was to remove his own hands from the construction of the image and use a commercial, lifeless style so that the text would impact on the audience without interruption. The words were then physically painted by the sign painter, in a non-prolonged black font. The first of these series presents an ironic statement "THE TWO DIMENSIONAL SECONDARY WITHOUT ARTICLES THERE A DEAD EXPERIENCE" (1967).
Another work, Painting for Kubler (1967-68) presented the viewer's theoretical instructions on how to view it and about the importance of context and continuity with previous works. This work refers to the history books of the historian by George Kubler, Time Shape: Description of the History of Things . The seemingly legitimate concern of art intended by Baldessari to be hollow and silly when presented with a pure self-reference.
Not recognizing the original job
In 1970, Baldessari and five of his friends burned all the paintings he made between 1953 and 1966 as part of a new work, entitled The Cremation Project. The ashes of these paintings are baked into cakes and put into jars, and the resulting art installation consists of bronze warning plaques with birth dates and death dates of crushed paintings, as well as recipes for baking. Through the cremation ritual, Baldessari draws connections between artistic practice and the life cycle of man. Thus the denial act becomes generative as with the work of the auto-destructive artist Jean Tinguely.
Align text with images
Baldessari is well known for works that incorporate photographic materials (such as movie stills), removing them from their original context and rearranging their shape, often including adding words or sentences. Associated with the original text drawing was the Wrong series (1966-1968), which paired photographic images with lines of text from an amateur photographic book, leading to a violation of a basic set of "rules" on a snapshot composition. In one of his works, Baldessari himself photographed right in front of his palm so that it would appear that the tree had grown from his head. His photography California Map Project (1969) created a physical shape that resembles a letter in "California" geographically close to the dots on the printed map. In Binary Code Series , Baldessari uses images as information holders with alternating photos to stand in the on-off state binary code; one example of alternating photos from a woman holding a cigarette parallel to her mouth and then dropping it.
Other Baldessari series juxtaposes object images such as glasses, or wooden beams, and the phrase "A glass is a glass" or "Wood is wood" combined with "but the cigar is a good smoke" and the artist's image is smoking a cigar. This directly refers to Renà ©  © Magritte The Treachery of Images ; the same image is used to stand for the objects described. However, this series also seems to refer to the famous observations of Sigmund Freud that "Sometimes cigars are just cigars", so does Rudyard Kipling "...... a woman is just a woman, but a good cigar is smoke."
In "Double Bill", a large series of inkjet prints of 2012, Baldessari paired the work of two selected artists (such as Giovanni di Paolo with David Hockney, or Fernand LÃÆ' Â © ger with Max Ernst) on a canvas, which then changed its designation. the image of the plane by coating the color additions painted with his own hands. Baldessari then only mentions one of his two artistic "collaborators" on each edge of the canvas, like ... AND MANET or ... AND DUCHAMP .
arbitrary game
Baldessari has stated that his interest in language comes from similarities in the structure for games, since both operate with arbitrary and obligatory rules systems. In this spirit, many of his works are sequences that indicate attempts to achieve arbitrary goals, such as Throwing Three Balls in the Air for a Straight Line (1973), in which the artist tries to do that, photographing the results, and finally selecting "the best of 36 experiments", with 36 being the decisive number just because it is the standard number of shots on 35mm film rolls. The author of Eldritch Priest links the work of John Baldessari. Fling four balls into the air to get the box (best of 36 experiments) as an early example of post-conceptual art. This work was published in 1973 by a young Italian publisher: Giampaolo Prearo who was one of the first to believe and invest in Baldessari's work. He scored two series one in 2000 copies and the second is worth more for publishers in 500 copies. Following Baldessari's seminal statement "I will not make Art more boring", he composed the work. Artist Beating Objects with Golf Club (1972-73), consisting of 30 photographs of swinging artists and hitting with golf club objects dug up from dumps, as cataloging parodies rather than a thorough straight line.
Painting
Most of Baldessari's work involves designation, where it tells viewers not only what to see but how to make choices and comparisons, often just to do it. Baldessari's Commissioned Paintings (1969) series took the idea of ​​pointing literally, after he read the criticism of conceptual art that claimed it was nothing more than a point. Beginning with photographs of hands pointing at various objects, Baldessari then hires amateur artists but is technically adept at painting drawings. He then added the caption "A painting with [name of painter]" for each painting completed. In this case, he has been likened to a choreographer, directing his actions while not having an immediate hand in them, and these paintings are usually read as questions of artistic authorship ideas. Amateur artists have been analogous to signing painters in this series, chosen for their indifferent pedestrian methods of what is being painted. Baldessari examines the formalist judgment of art in the segment of his video How We Do Now Art (1973), entitled "Checking the Three Nails 8", in which he gives obsessive attention to the small details of the nails, such as how much rust they have, or descriptive qualities as they seem "cooler, farther, less important" than others.
Dots
The circular glue points covering the faces of the photographed and painted portraits are the prevailing motifs in Baldessari's work from the mid-1980s onwards. The artist himself suspects that, despite all the approaches he took during his career, he will be remembered as "the one who places the dots on the faces of people." Examples of "dot portraits" will include - for example - Bloody Sunday (1987) or Stonehenge with Two Persons (2005), although these works are numerous and it is difficult to identify examples. The dots in these paintings evoke colorful price stickers that are sometimes seen in garage sales, thrift stores, or retail goods during sales. Indeed, these stickers seem to be the inspiration for this method. Describing his first intuitive jump in this direction, Baldessari said, "I only have a price sticker I use for something else, in some graphic way and I put it on all my faces and I feel like leveling the playing field." Dot-faced works can sometimes be described as paintings, collages, or can be released as print editions.
Books
- Choose: Green Beans. Milan: Edizioni Toselli
- Ingres and Other Imagery. Texts in English, French, German and Italian. London: International Studio Publication
- Throw Three Balls in the Air to Get a Straight Line (Best of Thirty-Six). Milan: Giampaolo Prearo Editore S.r.L.; and Galleria Toselli
- Four Events and Reactions. Florence: Centro Di; and Paris: Galerie Sonnabend.
- Cast a Ball Once to Get Three Melodies and Fifteen Chords, John Baldessari: 1973. Berkeley, California: The University of California Bupatis; and Irvine, California: Art Gallery, University of California at Irvine
- Brutus Kills Caesar. Akron, Ohio: Emily H. Davis Art Gallery, University of Akron; in collaboration with Sonnabend Gallery, New York, and Ohio State University, Columbus, Ohio.
- Fables - Thirteen Parts (With Alternative Twelve) Ends in FABEL. Hamburg, West Germany: Anatol AV und Filmproduktion
- Close Cut Tari. Gallery CEPA and Albright Art Gallery - Knox, Buffalo, NY, 1981.
- Shandy Tristram Life and Opinion. Image by John Baldessari, text by Laurence Sterne, Arion Press, San Francisco, CA.
- Phonebook (With Pearl). Gent, Belgium: Imschoot, Uitgevers for IC.
- Lamb. Image by John Baldessari, story by Meg Cranston. Valencia, Spain: IVAM Center Julio Gonzlez
- Zorro (Two Gestures and one Mark). Oktagon Verlag, Cologne, Germany.
- Metaphor Problems Again. Collaboration with Lawrence Weiner. Ink-Tree Kunsnacht and Mai 35 Galerie Zurich, Switzerland.
- Chocolate and Green and Other Imagery. Reykjavik, Iceland: i8 and Reykjavik Art Museum, Iceland, 2001.
- Respect in Food, John Baldessari: With Reflections on Eating by Paul Auster, John Baldessari, David Byrne, Dave Eggers, David Gilbert, Tim Griffin, Andy Grundberg, John Haskell, Michael More, Glenn O'Brien, Francine Prose, Peter Schjeldahl, Lynne Tillman. New York: Princeton Architectural Press, 2004.
- More Metaphor Problems: A Conversation moderated by Beatrix Ruf. Heidelberg, Germany: Springer-Verlag, 2006. Transcribed conversations with John Baldessari, Liam Gillick, Lawrence Weiner, Beatrix Ruf, and Cristina Bechtler.
- Prima Facie: Marilyn Dress, A Poem (In Four Parts). Cologne: Verlag Der Buchhandlung Walther KÃÆ'¶nig, 2006.
- Again Another Metaphor Problem and Critical Discourse About Art: Conversations Between John Baldessari, Liam Gillick and Lawrence Weiner, Moderated by Beatrix Ruf. Vienna and New York: SpringerWienNewYork, 2007.
- John Baldessari: Alejandro Cesarco: Retrospective. Cologne: Verlag der Buchhandlung Walther KÃÆ'¶nig, 2007. Working with Alejandro Cesarco.
- John Baldessari: Koen van den Broek: Here's an example. Gemeenteplein (Belgium): bkSM (beeldende kunst Strombeek/Mechelen), 2008. Collaborative work with Koen van den Broek.
- Parse. Zurich: JRP | Ringier, 2010. The artist's version of the 2009 Ringier Annual Report project
Baldessari started making prints in the early 1970s and continues to produce today's editions. He created his first print - I Will not Make More Boring Art (1971) - as an edition to raise funds for Nova Scotia College of Art and Design, Halifax. The lithograph is made in conjunction with the now famous exhibit which - at the request of Baldessari - students endlessly write the phrase "I will not make the art more boring" on the wall of the gallery. This artist has worked internationally with major publishers including Arion Press from San Francisco, Brook Alexander New York Edition, Cirrus Edition Los Angeles, Crown Point Press San Francisco, Jacob Samuel Edition from Santa Monica, Gemini G.E.L. Los Angeles, Mixografia from Los Angeles, Multiples, Multi Edition Los Angeles, Inc. from New York, and Peter Blum's New York Edition. Printing 1988, The Fallen Easel and Object (with Flaw), represents a major change in Baldessari's approach to presentation, allowing a more complex relationship between the imagery it finds. In both prints, Baldessari expertly compares unrelated photographs to show mysterious and/or unpleasant undercurrents. In the 1990s Baldessari began working with Mixografia Workshop to create three-dimensional prints utilizing their unique printing process from metal molds. Baldessari's interest in dimensionality has been brought to the latest edition of Gemini G.E.L., including the series Person with Guitar (2005) and the print series Noses & amp; Ears, Etc. (2006-2007) in which the printed image of the screen is built in three layers on sintra by hand painting. Gemini's 2007 publication is Nose God , a piece of cast aluminum designed to hang from the ceiling. Baldessari also contributed to the 2008 Artist portfolio for Obama, a set of prints in a limited 150 edition published by Gemini G.E.L..
Performance and movies
Originally conceived in 1970, the Unrealized Proposals for Cadavre Piece will have visitors who see through peep holes and see dead male bodies laid out with their feet toward them in a climate-controlled vitrine, made resembles Andrea. Mantegna's Painting, Lamentation on the Dead's Christ (1480). Hans Ulrich Obrist, co-director of London's Serpentine Gallery and Klaus Biesenbach, director of MoMA PS1, first attempted to realize Baldessari's idea in 2011 and documents resulting from unsuccessful attempts to get a male corpse willing to appear in the "11 Room Exhibition "at the Manchester International Festival.
The Baldessari Drawing Policeman Drawing documented the 1971 performance, Policeman Drawing Project . In this work, artists walk into art student classes who have never seen it, set up a video camera to document the process, and leave the room. Next, a police artist enters and, based on the testimony of the students, makes a similar sketch with the artist. In the black and white video I Am Making Art (1971), Baldessari stands facing the camera; for nearly 20 minutes, he attacks and then holds various poses - crossed his arms across his chest or swung one arm to one side or pointed directly to the lens, for example - and with every new movement he declared "I make art." In a 1972 award for fellow artist Sol LeWitt, Baldessari sang the lines of LeWitt's thirty-five statements about conceptual art to popular songs. Other films include Teaching Alphabet Plants and videos Inventory , also from 1972.
A riff in his 1977 colored video of Six Colorful Inside Jobs in Thirteen Colorful Inside Jobs (2013) a room painted by a player of a different color every day for the duration of exhibit, carefully following the instructions of the artist.
Exhibition
Baldessari has been in more than 200 solo performances and 1,000 group performances in his career over six decades. He held his first solo gallery exhibition at the Molly Barnes Gallery in Los Angeles in 1968. His first retrospective exhibit in the US in 1981 was fitted with the New Contemporary Art Museum in New York, and traveled to the Contemporary Art Center, Cincinnati, CAM, Houston, Van Abbemuseum, Eindhoven, and Folkwang Museum, Essen.
His work has been exhibited in:
- Documenta V (1972) and VII (1982)
- Whitney Biennial (1983)
- Carnegie International (1985-86)
- the 47th Venice Biennial (1997)
Present only karyanya of museum sudah termasuk pameran of:
- Albertina, Vienna (1999)
- Museum Sprengel, Hannover (1999-2000)
- Museum of Modern Contemporary Art of Trento and Rovereto, Trento (2000-2001)
- Museum Modern Kunst Stiftung Ludwig Wien, Kunsthaus Graz, dan Deutsche Guggenheim Berlin (2004)
- Jumex Museum, Mexico City (2017)
The retrospective of his work is shown in MOCA, Los Angeles, traveling to SFMOMA, Hirshhorn Museum and Sculpture Garden, Whitney Museum and Musà © d'd'Art Contemporain, Montreal in 1990-92; at Cornerhouse, Manchester, and traveled to London, Stuttgart, Ljubljana, Oslo and Lisbon in 1995-96 under the title "This Not That"; and Pure Beauty opened at Tate Modern, London, in 2009 and traveled to MACBA, Barcelona; LACMA, Los Angeles; and the Metropolitan Museum of Art, New York, until 2011.
There was "Artist's Choice: John Baldessari" at the Museum of Modern Art in 1994, and artists were invited to curate the "How to See: John Baldessari Exploring Collection" exhibit at the Hirshhorn Museum and Sculpture Garden in 2006, and he created the exhibition design for "Magritte and Contemporary Art: The Treachery of Images "at the Los Angeles County Museum of Art.
For the 2017/2018 season at the Vienna State Opera he designed a large-scale image (176 m²) "Graduation" for the ongoing series of "Safety Curtains", compiled by an ongoing museum.
Collection
Baldessari's works are part of major public and private collections, including the Museum of Modern Art, the Guggenheim Museum, the Los Angeles Art Museum, the Hirshhorn Museum and the Sculpture and Great Collections Park.
Recognition
Baldessari has received many awards, including:
- 1988 Guggenheim Fellowship
- 1996 Oscar Kokoschka Prize, Austria
- 1997 Governor's Award for Lifetime Achievement in Visual Arts, California.
- 1999 International Spectrum for Photography of the Lower Saxony Foundation, Germany
- High School Art Association Lifetime Achievement Award
- 2000 Artists' Room, New York
- 2002 "Best Original Web-Based Art," AICA USA Best Show Awards, Season 2001/2002.
- Los Angeles Institute for Humanitarian Unity, sponsored by the University of Southern California.
- 2003 "Second Place of the Best National Commercial Gallery Exhibition by the US Art Critics Association for the exhibition at Margo Leavin, 2003
- 2004 Fellow of the Academy of Arts and Sciences of America
- 2005 Lifetime Achievement Award, USA for Art, New York, October 11, 2005
- Rolex Mentor and ProtÃÆ'Â © gÃÆ' Â © Arts Initiative, Honoring, New York, November 7, 2005.
- 2006 Recognition Certificate, Los Angeles Convention and Visitors Bureau, Los Angeles, CA.
- Life's achievements Golden Lion 2009, 53rd International Arts Exhibition Venice Biennale, Venice, Italy
- 2011 Honoree, LACMA Art Film Gala, Los Angeles, November 5, 2011.
- Goslarer Kaiserring 2012 (City of Kaiser Ring Goslar), Germany
- 2015 Honoree, Museum of Contemporary Art, Los Angeles, May 31, 2015.
In 2013, the California Institute of Art opened the John Baldessari Art Building, which has about 7,000 square feet - widely used as a studio space for art students and faculty.
Position in art market
Baldessari made a personal auction note when the acrylic-on-canvas piece of Quality Material (1966-1968) sold for $ 4,408,000 at Christie's New York in 2007.
In 1972, Ileana Sonnabend agreed to represent him worldwide. In 1999, after twenty-six years with the Sonnabend Gallery, Baldessari met Marian Goodman. He is also represented by Margo Leavin, Los Angeles (since 1984), and SprÃÆ'¼th Magers, Berlin/London.
References
Bibliography
- Isenberg, Barbara. State of Art: California Artists Talking About Their Work. 2005
- Interview with Fabian Stech at ANNUAL MAGAZINE No. 5, 2012, pp.Ã, 143-146.
External links
- Baldessari.org
- Oral history interview with John Baldessari, 1992 4-5 April from the Smithsonian Archives of American Art
Source of the article : Wikipedia
0 Comments