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John BaldessariHegel's Cellar Portfolio1986
1986
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
About the Item
It is hard to characterize John Baldessari’s varied practice—which includes photomontage, artist’s books, prints, paintings, film, performance, and installation—except through his approach of good-humored irreverence. Baldessari is commonly associated with Conceptual or Minimalist art, though he has called this characterization “a little bit boring.” His two-dimensional works often incorporate found images, composed in layers or presented as distinct pieces with an element of surprise, like a brightly colored geometric shape in the place of a face or a starkly printed sardonic caption. Baldessari has demonstrated a lasting interest in language and semantics, articulating these concerns through the use of puns or the juxtaposition of seemingly unrelated images and words, as in his 1978 work Blasted Allegories. His self-referencing photomontages and use of text have been sources of inspiration for countless artists, including Cindy Sherman, David Salle, and Barbara Kruger. Baldessari identifies his own artistic lineage, saying, “I would prefer to go to the source with Duchamp rather than credit Warhol as an influence.”
Hegel’s Cellar reflects Baldessari's his interests in philosophy and identity. For this series of ten aquatints, Baldessari employed stock imagery in montages to examine Hegel’s theory of an “abyss (or cellar) as a psychic space where one preserve[s] images unconsciously” (Wendy Weitman in The Prints of John Baldessari: A Catalogue Raisonne 1971–2007, 23-24). As Weitman observes, the plate titled Two Boats is an example of Baldessari’s investigations behind the nature of “group think” – the individual surrendering selfhood to the masses – a phenomenon he first studied in Elias Canetti’s 1960 treatise Crowds and Power. This condition of loss of individuality in the mass is reflected in the covered faces underscoring the loss of unique personality.
- Creator:John Baldessari (1931, American)
- Creation Year:1986
- Dimensions:Height: 19.5 in (49.53 cm)Width: 26.5 in (67.31 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU3292787152
John Baldessari
Although Conceptual artist John Baldessari is best known for the richly provocative juxtapositions of photographic images and text that characterize his prints and paintings, he actually had something of a traditional art world upbringing — if such a thing exists.
Born in Southern California, Baldessari earned several art degrees, from art education to art history to painting. He also taught art at various institutions such as the California Institute of the Arts throughout his life. Among his many students were David Salle, Tony Oursler, Jim Shaw and Mike Kelley. While helping to shape the art world in Los Angeles, he simultaneously developed his own name as an artist.
In the 1950s, Baldessari’s works were primarily semiabstract paintings, but during the late 1960s, he began to distance himself from painting, as he bristled at the idea of limiting art to a single medium. Baldessari decided to take his career in a dramatically different direction. He burned all his paintings at a funeral home in San Diego, then incorporated the ashes into cookie dough, producing (nonedible) baked goods for an exhibition at the Museum of Modern Art in New York City.
“It was a very public and symbolic act,” he said, “like announcing you’re going on a diet in order to stick to it.”
From that point on, Baldessari took on an MO of experimentation, dabbling in mediums from video to printmaking to sculpture. “I just stare at something and say: Why isn’t that art? Why couldn’t that be art?” he said in an interview in 2008.
The works for which Baldessari is most highly regarded, however, are striking collages of images and text — many of which are seemingly nonsensical — such as Tom’s Hand Grips the Steering, Wheel… (2015), in which the title’s text is displayed beneath a hippopotamus. As such is his body of work: bringing a sense of joviality to the sometimes too-serious world of Conceptual art.
Before he died in 2020, Baldessari was honored with the 2014 National Medal of Arts Award, the Americans for the Arts Lifetime Achievement Award, the Venice Biennale’s Golden Lion for Lifetime Achievement and more.
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It is hard to characterize John Baldessari's varied practice—which includes photomontage, artist’s books, prints, paintings, film, performance, and installation—except through his approach of good-humored irreverence. Baldessari is commonly associated with Conceptual or Minimalist art, though he has called this characterization “a little bit boring.” His two-dimensional works often incorporate found images, composed in layers or presented as distinct pieces with an element of surprise, like a brightly colored geometric shape in the place of a face or a starkly printed sardonic caption. Baldessari has demonstrated a lasting interest in language and semantics, articulating these concerns through the use of puns or the juxtaposition of seemingly unrelated images and words, as in his 1978 work Blasted Allegories. His self-referencing photomontages and use of text have been sources of inspiration for countless artists, including Cindy Sherman, David Salle, and Barbara Kruger. Baldessari identifies his own artistic lineage, saying, "I would prefer to go to the source with Duchamp rather than credit Warhol as an influence."
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