AzizArt Jan2020
History of art(west and middle east)- contemporary art ,art ,contemporary art ,art-history of art ,Iranian art ,Iranian contemporary art ,famous Iranian artist ,Middle east art ,European art History of art(west and middle east)- contemporary art ,art ,contemporary art ,art-history of art ,Iranian art ,Iranian contemporary art ,famous Iranian artist ,Middle east art ,European art
as a parody of cataloging ratherthan a thorough straightclassification.PointingMuch of Baldessari's workinvolves pointing, in which hetells the viewer not only what tolook at but how to makeselections and comparisons, oftensimply for the sake of doing so.Baldessari's CommissionedPaintings (1969) series took theidea of pointing literally, after heread a criticism of conceptual artthat claimed it was nothing morethan pointing. Beginning withphotos of a hand pointing atvarious objects, Baldessari thenhired amateur yet technicallyadept artists to paint the pictures.He then added a caption "Apainting by " to each finishedpainting. In this instance, he hasbeen likened to a choreographer,directing the action whilehaving no direct hand in it, andthese paintings are typically readas questioning the idea of artisticauthorship. The amateur artistshave been analogized to signpainters in this series, chosen fortheir pedestrian methods thatwere indifferent to what was beingpainted.Baldessari critiquesformalist assessments of art in asegment from his video How We DoArt Now (1973), entitled"Examining Three 8d Nails", inwhich he gives obsessive attentionto minute details of the nails, suchas how much rust they have, ordescriptive qualities such as whichappears "cooler, more distant, lessimportant" than the others.DotsCircular adhesive dots covering upthe faces of photographed andpainted portraits are a prevailingmotif in Baldessari's work from themid-1980s onward.The artisthimself suspected that, despite thebroad array of approaches he'staken over the course of his career,he will be best remembered as "theguy who puts dots over peoplesfaces."Examples of the "dotportraits" would include—forexample—Bloody Sunday (1987) orStonehenge with Two Persons(2005), though these works arenumerous and it is difficult toidentify an exemplar. The dots inthese paintings evoke brightlycolored price-stickers sometimesseen at garage sales,
thrift stores or placed on retailitems during a sale. Indeed, thesestickers appear to have been theinspiration for the method..Describing his initial intuitive leapin this direction, Baldessari said, "Ijust had these price stickers I wasusing for something else, in somegraphic way and I put them on allthe faces and I just felt like itleveled the playing field."The dotfacedworks may sometimes bedescribed as paintings, collages, ormay be released as print editions.PrintsBaldessari began making prints inthe early 1970s and continued toproduce editions. He created hisfirst print – I Will Not Make AnyMore Boring Art (1971) - as anedition to raise funds for the NovaScotia College of Art and Design,Halifax. The lithograph was createdin conjunction with the nowrenowned exhibition for which – atBaldessari's request – studentsendlessly wrote the phrase "I willnot make any more boring art" onthe gallery walls. The artist hassince worked internationally withpremier publishers including ArionPress of San Francisco, BrookAlexander Editions of New York,Cirrus Editions of Los Angeles,Crown Point Press of San Francisco,Edition Jacob Samuel of SantaMonica, Gemini G.E.L. of LosAngeles, Mixografia of Los Angeles,Multiples, Multi Editions of LosAngeles, Inc. of New York, andPeter Blum Editions of New York.His 1988 prints, The Fallen Easeland Object (with Flaw),represented a major shift inBaldessari's approach topresentation, allowing a morecomplex relationship between hisfound imagery. In both prints,Baldessari expertly contrastsunrelated photographs to suggest amysterious and/or ominousundercurrent. In the 1990sBaldessari began working withMixografia Workshop to createthree-dimensional prints utilizingtheir unique process of printingfrom metal molds. Baldessari'sinterest in dimensionality hascarried over to recent editions fromGemini G.E.L., including the Personwith Guitar series (2005) and theprint series Noses & Ears, Etc.(2006–2007) in which screenprintedimages are constructed inthree layers on sintra with handpainting.
- Page 1 and 2: Aziz ArtJan 2020Etel AdnanJohn Bald
- Page 3 and 4: John Anthony Baldessari (June 17,19
- Page 6 and 7: Disowning of early workIn 1970, Bal
- Page 11 and 12: A 2007 publication from Gemini isGo
- Page 13: "This Not That"; and Pure Beautyope
- Page 16: Aziz Anzabi's style is unique incom
- Page 19 and 20: 17
- Page 21 and 22: Solo Exhibitions1973 Yale Universit
- Page 23 and 24: Etel Adnanborn 24 February 1925 in
- Page 25 and 26: In 2017, Adnan's work wasincluded i
thrift stores or placed on retail
items during a sale. Indeed, these
stickers appear to have been the
inspiration for the method..
Describing his initial intuitive leap
in this direction, Baldessari said, "I
just had these price stickers I was
using for something else, in some
graphic way and I put them on all
the faces and I just felt like it
leveled the playing field."The dotfaced
works may sometimes be
described as paintings, collages, or
may be released as print editions.
Prints
Baldessari began making prints in
the early 1970s and continued to
produce editions. He created his
first print – I Will Not Make Any
More Boring Art (1971) - as an
edition to raise funds for the Nova
Scotia College of Art and Design,
Halifax. The lithograph was created
in conjunction with the now
renowned exhibition for which – at
Baldessari's request – students
endlessly wrote the phrase "I will
not make any more boring art" on
the gallery walls. The artist has
since worked internationally with
premier publishers including Arion
Press of San Francisco, Brook
Alexander Editions of New York,
Cirrus Editions of Los Angeles,
Crown Point Press of San Francisco,
Edition Jacob Samuel of Santa
Monica, Gemini G.E.L. of Los
Angeles, Mixografia of Los Angeles,
Multiples, Multi Editions of Los
Angeles, Inc. of New York, and
Peter Blum Editions of New York.
His 1988 prints, The Fallen Easel
and Object (with Flaw),
represented a major shift in
Baldessari's approach to
presentation, allowing a more
complex relationship between his
found imagery. In both prints,
Baldessari expertly contrasts
unrelated photographs to suggest a
mysterious and/or ominous
undercurrent. In the 1990s
Baldessari began working with
Mixografia Workshop to create
three-dimensional prints utilizing
their unique process of printing
from metal molds. Baldessari's
interest in dimensionality has
carried over to recent editions from
Gemini G.E.L., including the Person
with Guitar series (2005) and the
print series Noses & Ears, Etc.
(2006–2007) in which screenprinted
images are constructed in
three layers on sintra with hand
painting.
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