John Baldessari / John Baldessari: National City

€100.00

BALDESSARI John (National City 1931 - Venice, Los Angeles 2020), San Diego, Museum of Contemporary Art, Casablanca Printing Inc., Santa Ana (CA), 1996, 25,5x23 cm., paperback [softcover], pp. 114, illustrated cover and volume, catalog with tens of colored and black and white images through the pages. Essays in English by Hugh M. Davies (John the Baldessari: Prophetic Works), Andrea Hales (National City Revisited), David Antin (Eight Sories for John Baldessari), Jan Avgikos (Stating the Obvious), Bice Curiger (What Does a Pony Have to Do With Art?), Dave Hickey (Still Wrong After All These Years: Tips For Looking At The Work Of John Baldessari), Anne Rorimer (John Baldessari: The National City Period, 1966-70), Abigail Solomon-Godeau (The Rightness Of Wrong) and a selected biography and biography of the artist. Published in conjunction of the exhibition (San Diego, Museum of Contemporary Art, March 10 to June 30, 1996).

BALDESSARI John (National City 1931 - Venice, Los Angeles 2020), San Diego, Museum of Contemporary Art, Casablanca Printing Inc., Santa Ana (CA), 1996, 25,5x23 cm., paperback [softcover], pp. 114, illustrated cover and volume, catalog with tens of colored and black and white images through the pages. Essays in English by Hugh M. Davies (John the Baldessari: Prophetic Works), Andrea Hales (National City Revisited), David Antin (Eight Sories for John Baldessari), Jan Avgikos (Stating the Obvious), Bice Curiger (What Does a Pony Have to Do With Art?), Dave Hickey (Still Wrong After All These Years: Tips For Looking At The Work Of John Baldessari), Anne Rorimer (John Baldessari: The National City Period, 1966-70), Abigail Solomon-Godeau (The Rightness Of Wrong) and a selected biography and biography of the artist. Published in conjunction of the exhibition (San Diego, Museum of Contemporary Art, March 10 to June 30, 1996).

([...] if Baldessari's deadpan if deceptively casual expulsion of centuries of aesthetic precepts still carries its punch, it can only be because aestheticism, notwithstanding its aggregate onslaughts from Dada through various postmodernisms, is still alive and kicking, whether in the form of guides to amateur photography (which is, in any case, only the most obvious target of Wrong) or more generally, in the still-potent belief that art objects, by definition, occupy a special and rarefied domain that differentiates aesthetic experience and reception from all other forms of perception and cognition.) from the essay by Abigail Solomon-Godeau