DOCSLIB.ORG

Leo Steinberg

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Leo Steinberg US $25 The Global Journal of Prints and Ideas January – February 2018 Volume 7, Number 5 Leo Steinberg: What I Like About Prints • Manet’s Absinthe Drinker • Impressions from South Africa WWI at the Met • Louise Bourgeois: Memory Work • Adam von Bartsch in Context • Prix de Print • News AndyAndy Warhol: Warhol: Prints Prints from from the the Collections Collections of ofJordan Jordan D. D.Schnitzer Schnitzer and and His His Family Family Foundation Foundation PortlandPortland Art Art Museum Museum AA PASSIONPASSION FORFOR SHARINGSHARING ARTART UpcomingUpcoming Exhibitions Exhibitions “For“For me, me, waking waking up up each each day day without without art art around around AndyAndy Warhol: Warhol: Prints Prints from from the the Collections Collections of of meme would would be be like like waking waking up up without without the the sun. sun. JordanJordan D. D. Schnitzer Schnitzer and and His His Family Family Foundation Foundation PalmPalm Springs Springs Art Art Museum Museum WhenWhen you you live live with with art art around around you, you, your your mind mind PalmPalm Springs, Springs, CA CA • • Mar Mar 3, 3, 2018 2018 - -May May 28, 28, 2018 2018 andand soul soul are are filled filled withwith the the beautybeauty ofof life life andand the the LouiseLouise Bourgeois: Bourgeois: Selections Selections from from JordanJordan D. D. Schnitzer Schnitzer and and His His Family Family Foundation Foundation creativitycreativity of of the the human human spirit.” spirit.” PendletonPendleton Center Center for for the the Arts Arts —— JORDAN JORDAN D. D. SCHNITZER SCHNITZER Pendleton,Pendleton, OR OR • • Mar Mar 8, 8, 2018 2018 - Apr- Apr 28, 28, 2018 2018 JohnJohn Baldessari: Baldessari: Interference Interference Effects Effects MissoulaMissoula Art Art Museum Museum EstablishedEstablished in in 1997, 1997, the the Jordan Jordan Schnitzer Schnitzer Family Family Missoula,Missoula, MT MT • • Mar Mar 27, 27, 2018 2018 - Aug- Aug 25, 25, 2018 2018 FoundationFoundation has has organized organized over over 100 100 exhibitions exhibitions in in over over 100 100 Person(a):Person(a): Portraitures Portraitures from from the the Collection Collection of of museumsmuseums of of post-WWII post-WWII prints prints and and multiples multiples by by American American JordanJordan D. D. Schnitzer Schnitzer and and His His Family Family Foundation Foundation artistsartists from from Jordan Jordan D. D. Schnitzer Schnitzer and and His His Family Family Foundation. Foundation. JordanJordan Schnitzer Schnitzer Museum Museum of of Art Art at at WSU WSU Pullman,Pullman, WA WA • • Apr Apr 6, 6, 2018 2018 - Aug- Aug 4, 4, 2018 2018 TheThe Foundation Foundation provides provides programming programming for for students, students, Witness:Witness: Race Race and and Identity Identity in in seniors,seniors, artists artists in in residency residency and and lecture lecture series series and and the the ContemporaryContemporary American American Printmaking Printmaking collectioncollection is is made made available available at at no no charge charge to to museums. museums. HallieHallie Ford Ford Museum Museum of of Art Art Salem,Salem, OR OR • • Sept Sept 15, 15, 2018 2018 - -Dec Dec 18, 18, 2018 2018 ExhibitionExhibition Inquiries: Inquiries: Amazing!:Amazing!: Works Works by by Mel Mel Bochner Bochner JordanJordan D. D. Schnitzer Schnitzer • • [email protected] [email protected] PhilbrookPhilbrook Museum Museum of of Art Art CatherineCatherine Malone Malone • • [email protected] [email protected] Tulsa,Tulsa, OK OK • • Oct Oct 14, 14, 2018 2018 - -Jan Jan 6, 6, 2019 2019 ChuckChuck Close Close Prints Prints TaubmanTaubman Museum Museum of of Art Art Roanoke,Roanoke, VA VA • • Mar Mar 16, 16, 2019 2019 - Aug- Aug 25, 25, 2019 2019 January – February 2018 In This Issue Volume 7, Number 5 Editor-in-Chief Susan Tallman 2 Susan Tallman On Scholarship Associate Publisher Leo Steinberg 3 Julie Bernatz What I Like About Prints Juliet Wilson-Bareau 29 Managing Editor Manet’s Absinthe Drinker Isabella Kendrick Andy Warhol: Prints from the Collections of Jordan D. Schnitzer and His Family Foundation Portland Art Museum Nadine M. Orenstein 36 Associate Editor South African Impressions Julie Warchol Exhibition Reviews Manuscript Editor Catherine Bindman 40 Prudence Crowther Shellshock and Awe Editor-at-Large Faye Hirsch 43 Catherine Bindman Memory Work: Louise Bourgeois A PASSION FOR SHARING ART Book Review Design Director Skip Langer Jesse Feiman 47 Von Bartsch in Context Prix de Print, No. 27 50 Upcoming Exhibitions “For me, waking up each day without art around Juried by Christina Weyl Our Good Earth? Andy Warhol: Prints from the Collections of me would be like waking up without the sun. by Nathan Meltz Jordan D. Schnitzer and His Family Foundation News of the Print World 52 Palm Springs Art Museum When you live with art around you, your mind New York Print Week 2017 60 Palm Springs, CA • Mar 3, 2018 - May 28, 2018 and soul are filled with the beauty of life and the Louise Bourgeois: Selections from Jordan D. Schnitzer and His Family Foundation creativity of the human spirit.” Pendleton Center for the Arts — JORDAN D. SCHNITZER Pendleton, OR • Mar 8, 2018 - Apr 28, 2018 John Baldessari: Interference Effects Missoula Art Museum Established in 1997, the Jordan Schnitzer Family Missoula, MT • Mar 27, 2018 - Aug 25, 2018 Foundation has organized over 100 exhibitions in over 100 On the Cover: Jan Steen, detail of The Drawing Lesson (ca. 1665), oil on panel, Person(a): Portraitures from the Collection of museums of post-WWII prints and multiples by American J. Paul Getty Museum, courtesy of the Jordan D. Schnitzer and His Family Foundation artists from Jordan D. Schnitzer and His Family Foundation. Getty Open Content Program. Jordan Schnitzer Museum of Art at WSU This Page: Marcantonio Raimondi after Pullman, WA • Apr 6, 2018 - Aug 4, 2018 The Foundation provides programming for students, Raphael or Giulio Romano, detail of Martha Leading Mary Magdalen to Christ (ca. 1520– Witness: Race and Identity in seniors, artists in residency and lecture series and the 1525). Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, Contemporary American Printmaking collection is made available at no charge to museums. 2002. Photo: Rick Hall. Hallie Ford Museum of Art Salem, OR • Sept 15, 2018 - Dec 18, 2018 Art in Print This issue was funded in part with 3500 N. Lake Shore Drive Exhibition Inquiries: support from the IFPDA Foundation Suite 10A and the Malka Fund. Amazing!: Works by Mel Bochner Jordan D. Schnitzer • [email protected] Chicago, IL 60657-1927 Philbrook Museum of Art Catherine Malone • [email protected] www.artinprint.org Tulsa, OK • Oct 14, 2018 - Jan 6, 2019 [email protected] 1.844.ARTINPR (1.844.278.4677) No part of this periodical may be published Chuck Close Prints without the written consent of the publisher. Taubman Museum of Art Roanoke, VA • Mar 16, 2019 - Aug 25, 2019 On Scholarship By Susan Tallman n 2016, Oxford Dictionaries named attendant catalogue and an online refer- I“post-truth” the international word of ence to the artist’s complete books and the year. Two thousand seventeen kicked editions. Faye Hirsch considers all three, off with Kellyanne Conway’s “alterna- and the intertwined careers of artist and tive facts” (which many assumed was a curator. gaffe, but now appears to have been a Adam von Bartsch, the 18th-century policy statement). We are in free fall. The artist and librarian often crediting with notion of information as entirely fun- inventing (and perhaps perverting) the gible seems to have overtaken any broadly field of print scholarship, is the subject shared consensus about reality. To some of the multi-author volume Copy.Right: degree this situation has been created Adam von Bartsch: Kunst, Kommerz, Ken- by purposeful and nefarious manipula- nerschaft, reviewed here by Jesse Feiman. tion, but it is also the inevitable price of In other essays, Nadine Orenstein a world awash in more data than any one offers an overview of contemporary person can process: how to know whose printmaking activity in South Africa, and facts to trust? Which stories have been Catherine Bindman reviews “World War reported firsthand and which came off a I and the Visual Arts” at the Metropolitan Macedonian fake news assembly line? Or Museum of Art, an exhibition that united which—like the story of the artist selling Cornelis Bloemaert II after Hendrick Bloemaert, art and artifacts to build a sense of mate- invisible art for millions of dollars—were An Owl with Books (ca. 1625), engraving, rial realities and of their interpretation spoofs, picked up and repeated by people 22.2 x 18.1 cm. Rijksmuseum, Amsterdam. for purposes of art and politics. Finally, in and organizations too lazy or credulous this issue’s Prix de Print, Christina Weyl to do their homework?1 items as diverse as a Jasper Johns drawing selects Nathan Meltz’s dystopian take on The solution to this quandary is the and a 15th-century manuscript illumi- John Steuart Curry’s 1942 paean to rural same as it always has been: putting aside nation. Repeatedly, he pointed out how America, Our Good Earth? theory and ideology; learning to look with our fixation with painting has blinded us The question Nathan Meltz appends precision at what lies before us; maintain- to essential artistic habits of mind and to Curry’s original, unquibbled title, is as ing unrelenting curiosity about sources realities of invention, and he took evi- clear a statement as any about our cur- and evidence. In a word, scholarship. dent delight in exposing error after error rent situation. Certainty and simplicity Anchored by a major, unpublished lecture of dating, attribution and explanation, all like Curry’s make us suspicious; they are by Leo Steinberg (1920–2011), this issue of traceable to an ignorance of prints.
Load more

Recommended publications
  • National Arts Awards Monday, October 19, 2015
    2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States.
    [Show full text]
  • Sztuki Piękne)
    Sebastian Borowicz Rozdział VII W stronę realizmu – wiek XVII (sztuki piękne) „Nikt bardziej nie upodabnia się do szaleńca niż pijany”1079. „Mistrzami malarstwa są ci, którzy najbardziej zbliżają się do życia”1080. Wizualna sekcja starości Wiek XVII to czas rozkwitu nowej, realistycznej sztuki, opartej już nie tyle na perspektywie albertiańskiej, ile kepleriańskiej1081; to również okres malarskiej „sekcji” starości. Nigdy wcześniej i nigdy później w historii europejskiego malarstwa, wyobrażenia starych kobiet nie były tak liczne i tak różnicowane: od portretu realistycznego1082 1079 „NIL. SIMILIVS. INSANO. QVAM. EBRIVS” – inskrypcja umieszczona na kartuszu, w górnej części obrazu Jacoba Jordaensa Król pije, Kunsthistorisches Museum, Wiedeń. 1080 Gerbrand Bredero (1585–1618), poeta niderlandzki. Cyt. za: W. Łysiak, Malarstwo białego człowieka, t. 4, Warszawa 2010, s. 353 (tłum. nieco zmienione). 1081 S. Alpers, The Art of Describing – Dutch Art in the Seventeenth Century, Chicago 1993; J. Friday, Photography and the Representation of Vision, „The Journal of Aesthetics and Art Criticism” 59:4 (2001), s. 351–362. 1082 Np. barokowy portret trumienny. Zob. także: Rembrandt, Modląca się staruszka lub Matka malarza (1630), Residenzgalerie, Salzburg; Abraham Bloemaert, Głowa starej kobiety (1632), kolekcja prywatna; Michiel Sweerts, Głowa starej kobiety (1654), J. Paul Getty Museum, Los Angeles; Monogramista IS, Stara kobieta (1651), Kunsthistorisches Museum, Wiedeń. 314 Sebastian Borowicz po wyobrażenia alegoryczne1083, postacie biblijne1084, mitologiczne1085 czy sceny rodzajowe1086; od obrazów o charakterze historyczno­dokumentacyjnym po wyobrażenia należące do sfery historii idei1087, wpisujące się zarówno w pozy­ tywne1088, jak i negatywne klisze kulturowe; począwszy od Prorokini Anny Rembrandta, przez portrety ubogich staruszek1089, nobliwe portrety zamoż­ nych, starych kobiet1090, obrazy kobiet zanurzonych w lekturze filozoficznej1091 1083 Bernardo Strozzi, Stara kobieta przed lustrem lub Stara zalotnica (1615), Музей изобразительных искусств им.
    [Show full text]
  • Alphabetical List of Catalogues Raisonnés in the Collection Of
    Alphabetical List of Catalogues Raisonnés in the Collection of Ricker Library of Art and Architecture University of Illinois at Urbana-Champaign Last updated 04/10/14 ARX = Circulating book in our stacks ARR = Non-circulating book in our Reference collection ARC = Non-circulating book held in the Closed Stacks, behind our desk ARV = Non-circulating book held in our Vault IL BACHIACCA (a.k.a. Francesco d’Ubertino Verdi, Francesco Bachiacca) LaFrance, Robert G. Bachiacca : Artist of the Medici Court. Firenze : L. S. Olschki, 2008. Q.759.5B124l (ARX) Nikolenko, Lada. Francesco Ubertini Called il Bacchiacca. Locust Valley/NY: J. J. Augustin, 1966. 759.5IL1N (STX) BACKER, JACOB van den Brink, Peter and Jaap van der Veen. Jacob Backer (1608/9-1651). Zwolle: Waanders, 2008. Text and accompanying CD-Rom available. Q.759.9492B126br (ARV) BACON, FRANCIS Alley, Ronald. Francis Bacon. New York: Viking, 1964. 759.2 B132a (ARC) BAJ, ENRICO Enrico Baj. Baj: Catalogue del’Oeuvre Graphique et des Multiples = Catalogue of the Graphic Work and Multiples. 2 volumes. Genève: Rousseau, 1973. 709.45 B167ba (ARV) BALDESSARI, JOHN Baldessari, John et al. John Baldessari: Catalogue Raisonné. New Haven: Yale University Press, 2012. Vol. One, 1956-1974 Vol. Two, 1975-1986 Q.709.73B192j (ARV) Hurowitz, Sharon Coplan. John Baldessari : A Catalogue Raisonné of Prints and Multiples, 1971-2007. Manchester : Hudson Hills Press, 2009. Q. 709.73 B192h (ARV) BALDUNG, HANS (a.k.a. Hans Baldung Grien/Grün) Mende, Matthias. Hans Baldung Grien: das Graphische Werk. Unterschneidheim: UHL, 1978. Q.769.943B19m (ARV) Alphabetical list of Catalogue Raisonnés in the Collection of the Ricker Library of Architecture and Art B:2.
    [Show full text]
  • Joslyn Art Museum's 2007 Annual Report
    Joslyn Art Museum 2 0 0 7 A N N U A L R E P O R T YEAR AT A GLANCE 201,021 visited Joslyn Art Museum. 293 works of art were acquired by Joslyn Art Museum through gift or purchase in the following areas: Modern and Contemporary (142); American (140); European (8); and Asian (3). 60 works of art were lent by Joslyn to other institutions. 28 works of art were lent by other institutions and individuals to Joslyn's permanent collection. 10 special exhibitions were on view at the Museum. 38,774 attended tours, lectures, gallery talks, special programs for adults, art classes, camps, and other programs at Joslyn. The Museum ended the year with 5,971 membership households and an additional 10,000 members through the Passport Partners program. 46,298 attended music programs at Joslyn. 68,041 participated in Joslyn outreach programs. Volunteers logged 7,855 hours of service for the Museum's Art Reference Library; Museum Shop; Joslyn Art Museum Association events; Young Art Patrons events; and Membership, Education (including the docent program), and Marketing and Public Relations departments (including music series and visitor services). Joslyn's Abrahams Library acquired 699 new volumes, and there were 258 outgoing interlibrary loans. Joslyn Art Museum receives numerous requests from around the world for images of art works from its permanent collection. These images are used in textbooks, exhibition catalogues, books, and other publications; featured on posters, cards, and calendars; and used in films, videos, or television programs. In 2007, there were 77 completed reproduction requests, 46 of which were for works by Karl Bodmer.
    [Show full text]
  • The Rinceau Design, the Minor Arts and the St. Louis Psalter
    The Rinceau Design, the Minor Arts and the St. Louis Psalter Suzanne C. Walsh A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art History. Chapel Hill 2011 Approved by: Dr. Jaroslav Folda Dr. Eduardo Douglas Dr. Dorothy Verkerk Abstract Suzanne C. Walsh: The Rinceau Design, the Minor Arts and the St. Louis Psalter (Under the direction of Dr. Jaroslav Folda) The Saint Louis Psalter (Bibliothèque National MS Lat. 10525) is an unusual and intriguing manuscript. Created between 1250 and 1270, it is a prayer book designed for the private devotions of King Louis IX of France and features 78 illustrations of Old Testament scenes set in an ornate architectural setting. Surrounding these elements is a heavy, multicolored border that uses a repeating pattern of a leaf encircled by vines, called a rinceau. When compared to the complete corpus of mid-13th century art, the Saint Louis Psalter's rinceau design has its origin outside the manuscript tradition, from architectural decoration and metalwork and not other manuscripts. This research aims to enhance our understanding of Gothic art and the interrelationship between various media of art and the creation of the complete artistic experience in the High Gothic period. ii For my parents. iii Table of Contents List of Illustrations....................................................................................................v Chapter I. Introduction.................................................................................................1
    [Show full text]
  • Annual Report 2016
    Collecting Exhibiting Learning Connecting Building Supporting Volunteering & Publishing & Interpreting & Collaborating & Conserving & Staffing 2016 Annual Report 4 21 10 2 Message from the Chair 3 Message from the Director and the President 4 Collecting 10 Exhibiting & Publishing 14 Learning & Interpreting 18 Connecting & Collaborating 22 Building & Conserving 26 Supporting 30 Volunteering & Staffing 34 Financial Statements 18 22 36 The Year in Numbers Cover: Kettle (detail), 1978, by Philip Guston (Bequest of Daniel W. Dietrich II, 2016-3-17) © The Estate of Philip Guston, courtesy McKee Gallery, New York; this spread, clockwise from top left: Untitled, c. 1957, by Norman Lewis (Purchased with funds contributed by the Committee for Prints, Drawings, and Photographs, 2016-36-1); Keith and Kathy Sachs, 1988–91, by Howard Hodgkin (Promised gift of Keith L. and Katherine Sachs) © Howard Hodgkin; Colorscape (detail), 2016, designed by Kéré Architecture (Commissioned by the Philadelphia Museum of Art for The Architecture of Francis Kéré: Building for Community); rendering © Gehry Partners, LLP; Inside Out Photography by the Philadelphia Museum of Art Photography Studio A Message A Message from the from the Chair Director and the President The past year represented the continuing strength of the Museum’s leadership, The work that we undertook during the past year is unfolding with dramatic results. trustees, staff, volunteers, city officials, and our many valued partners. Together, we Tremendous energy has gone into preparations for the next phase of our facilities have worked towards the realization of our long-term vision for this institution and a master plan to renew, improve, and expand our main building, and we continue reimagining of what it can be for tomorrow’s visitors.
    [Show full text]
  • Depressed Eyes
    D E P R E S S E D E Y E S ‘ Allegory of Winter’ painted by Caesar van Everdingen, c a 1 6 5 0 Nelly Moerman Final paper for UvA Master’s module ‘Looking at Dutch Seventeenth - Century Paintings’ 2010 D EPRESSED EYES || Nelly Moerman - 2 CONTENTS page 1. Introduction 3 2. ‘Allegory o f Winter’ by Caesar van Everdingen, c. 1650 3 3. ‘Principael’ or copy 5 4. Caesar van Everdingen (1616/17 - 1678), his life and work 7 5. Allegorical representations of winter 10 6. What is the meaning of the painting? 11 7. ‘Covering’ in a psychological se nse 12 8. Look - alike of Lady Winter 12 9. Arguments for the grief and sorrow theory 14 10. The Venus and Adonis paintings 15 11. Chronological order 16 12. Conclusion 17 13. Summary 17 Appendix I Bibliography 18 Appendix II List of illustrations 20 A ppen dix III Illustrations 22 Note: With thanks to the photographic services of the Rijksmuseum in Amsterdam for supplying a digital reproduction. Professional translation assistance was given by Janey Tucker (Diesse, CH). ISBN/EAN: 978 - 90 - 805290 - 6 - 9 © Copyright N. Moerman 2010 Information: Nelly Moerman Doude van Troostwijkstraat 54 1391 ET Abcoude The Netherlands E - mail: [email protected] D EPRESSED EYES || Nelly Moerman - 3 1. Introduction When visiting the Rijksmuseum, it seems that all that tourists w ant to see is Rembrandt’s ‘ Night W atch ’. However, before arriving at the right spot, they pass a painting which makes nearly everybody stop and look. What attracts their attention is a beautiful but mysterious lady with her eyes cast down.
    [Show full text]
  • The Modernist Iconography of Sleep. Leo Steinberg, Picasso and the Representation of States of Consciousness
    60 (1/2021), pp. 53–73 The Polish Journal DOI: 10.19205/60.21.3 of Aesthetics Marcello Sessa* The Modernist Iconography of Sleep. Leo Steinberg, Picasso and The Representation of States of Consciousness Abstract In the present study, I will consider Leo Steinberg’s interpretation of Picasso’s work in its theoretical framework, and I will focus on a particular topic: Steinberg’s account of “Picas- so’s Sleepwatchers.” I will suggest that the Steinbergian argument on Picasso’s depictorial modalities of sleep and the state of being awake advances the hypothesis of a new way of representing affectivity in images, by subsuming emotions into a “peinture conceptuelle.” This operation corresponds to a shift from modernism to further characterizing the post- modernist image as a “flatbed picture plane.” For such a passage, I will also provide an overall view of Cubism’s main phenomenological lectures. Keywords Leo Steinberg, Pablo Picasso, Cubism, Phenomenology, Modernism 1. Leo Steinberg and Picasso: The Iconography of Sleep The American art historian and critic Leo Steinberg devoted relevant stages of his career to the interpretation of Picasso’s work. Steinberg wrote several Picassian essays, that appear not so much as disjecta membra but as an ac- tual corpus. In the present study, I will consider them in their theoretical framework, and I will focus on a particular topic: Steinberg’s account of “Pi- casso’s Sleepwatchers” (Steinberg 2007a). I will suggest that the Steinber- gian argument on Picasso’s depictorial modalities of sleep and the
    [Show full text]
  • John BALDESSARI
    John BALDESSARI THROUGH VIDEO, ON CANVAS, IN COLLAGE, AND, YES, WITH HIS SIGNATURE PAINTED DOTS ON FACES, ARTIST JOHN BALDESSARI HAS PUNCHED HOLES THROUGH MODERNISM, TURNED CONCEPTUALISM ON ITS HEAD, AND CREATED A BODY OF WORK THAT IS PART COMEDIC, PART TRAGIC, UTTERLY SEMIOTIC, AND ABSOLUTELY ALL HIS OWN. By DAVID SALLE Photography MARIO SORRENTI JOHN BALDESSARI IN NEW YORK, JULY 2013. ALL CLOTHING: BALDESSARI’S OWN. 160 161 For a very long time, John Baldessari had the distinction I think I even used you as a license for my own foundation of humor also play a role in your work. of being the tallest serious artist in the world (he is tendency toward obscurity when I was younger. Now It’s obviously a very sophisticated kind of humor. And 6'7"). To paraphrase the writer A.J. Liebling, he was I find I just want to be as clear as possible. not to in any way denigrate Wegman, but Bill goes taller than anyone more serious, and more serious BALDESSARI: I go back and forth between wanting more for the punch line. Of course, there other artists than anyone taller. As was inevitable, Baldessari’s to be abundantly simple and maddeningly complex. whose sensibility is fundamentally humorous, but few hegemony in the height department has now been I always compare what I do to the work of a mystery who actually make you laugh. challenged by a handful of younger artists. What, is writer—like, you don’t want to know the end of the BALDESSARI: It’s also a little bit in the eyes of the there to be no progress? Paul Pfeiffer, Richard Phil- book right away.
    [Show full text]
  • CULTURAL RESOURCES INVENTORY MORRIS COUNTY, NEW JERSEY PHASE III: Chatham Borough, Chatham Township, Dover, Madison, Montville, Mount Arlington
    CULTURAL RESOURCES INVENTORY MORRIS COUNTY, NEW JERSEY PHASE III: Chatham Borough, Chatham Township, Dover, Madison, Montville, Mount Arlington Principal Investigators: Jennifer B. Leynes Kelly E. Wiles Prepared by: RGA, Inc. 259 Prospect Plains Road, Building D Cranbury, New Jersey 08512 Prepared for: Morris County Department of Planning and Public Works, Division of Planning and Preservation Date: October 15, 2015 BOROUGH OF MADISON MUNICIPAL OVERVIEW: THE BOROUGH OF MADISON “THE ROSE CITY” TOTAL SQUARE MILES: 4.2 POPULATION: 15,845 (2010 CENSUS) TOTAL SURVEYED HISTORIC RESOURCES: 136 SITES LOST SINCE 19861: 21 • 83 Pomeroy Road: demolished between 2002-2007 • 2 Garfield Avenue: demolished between 1987-1991 • Garfield Avenue: demolished c. 1987 • Madison Golf Club Clubhouse: demolished 2007 • George Wilder House: demolished 2001 • Barlow House: demolished between 1987-1991 • Bottle Hill Tavern: demolished 1991 • 13 Cross Street: demolished between 1987-1991 • 198 Kings Road: demolished between 1987-1991 • 92 Greenwood Avenue: demolished c. 2013 • Wisteria Lodge: demolished 1988 • 196 Greenwood Avenue: demolished between 2002-2007 • 194 Rosedale Avenue: demolished c. 2013 • C.A. Bruen House: demolished between 2002-2006 • 85 Green Avenue: demolished 2015 • 21, 23, 25 and 63 Ridgedale Avenue in the Ridgedale Avenue Streetscape/Bottle Hill Historic District: demolished c. 2013 • 21 and 23 Cook Avenue in the Ridgedale Avenue Streetscape: demolished between 1995-2002 RESOURCES DOCUMENTED BY HABS/HAER/HALS: • Bottle Hill Tavern (117 Main
    [Show full text]
  • Lot Description LOW Estimate HIGH Estimate 2000 German Rococo Style Silvered Wall Mirror, of Oval Form with a Wide Repoussé F
    LOW HIGH Lot Description Estimate Estimate German Rococo style silvered wall mirror, of oval form with a wide repoussé frame having 2000 'C' scroll cartouches, with floral accents and putti, 27"h x 20.5"w $ 300 - 500 Polychrome Murano style art glass vase, of tear drop form with a stick neck, bulbous body, and resting on a circular foot, executed in cobalt, red, orange, white, and yellow 2001 wtih pulled lines on the neck and large mille fleur designs on the body, the whole cased in clear glass, 16"h x 6.75"w $ 200 - 400 Bird's nest bubble bowl by Cristy Aloysi and Scott Graham, executed in aubergine glass 2002 with slate blue veining, of circular form, blown with a double wall and resting on a circular foot, signed Aloysi & Graham, 6"h x 12"dia $ 300 - 500 Monumental Murano centerpiece vase by Seguso Viro, executed in gold flecked clear 2003 glass, having an inverted bell form with a flared rim and twisting ribbed body, resting on a ribbed knop rising on a circular foot, signed Seguso Viro, 20"h x 11"w $ 600 - 900 2004 No Lot (lot of 2) Art glass group, consisting of a low bowl, having an orange rim surmounting the 2005 blue to green swirl decorated body 3"h x 11"w, together with a French art glass bowl, having a pulled design, 2.5"h x 6"w $ 300 - 500 Archimede Seguso (Italian, 1909-1999) art glass sculpture, depicting the head of a lady, 2006 gazing at a stylized geometric arch in blue, and rising on an oval glass base, edition 7 of 7, signed and numbered to underside, 7"h x 19"w $ 1,500 - 2,500 Rene Lalique "Tortues" amber glass vase, introduced 1926, having a globular form with a 2007 flared mouth, the surface covered with tortoises, underside with molded "R.
    [Show full text]
  • Artist Resources – John Baldessari (American, 1931-2020)
    Artist Resources – John Baldessari (American, 1931-2020) Baldessari at Marian Goodman Gallery Baldessari reflects on his childhood, teaching, and creative inspirations in a 1992 oral history with the Smithsonian Archives of American Art. In 1994, Baldessari participated in MoMA’s Artist’s Choice series of exhibitions, selecting objects in the permanent collection to inspire a new artwork. He curated and installed the show, which featured six of the original works of inspiration alongside photographs of the remaining twenty plus pieces, and the newly completed construction. “As I continued with teaching and art, I began to see how they both shared the same problem of communication,” explains Baldessari in an essay from 1998. “I saw how you could obfuscate, be crystal clear or do anything in-between. You could play your audience like a musical instrument.” In a 2008 interview with Art21, Baldessari discussed his interest in language and the relationship between teaching and his art practice. “You try to think of ways to make your time in the classroom like you’re making art in some way. A vital lesson for me was learning that teaching is about communication. Lecturing doesn’t do it. You have to see the light in the student’s eyes; you have to see that they get it…I realized that that attitude was filtering into my art—that you have to communicate. Teaching and art began to cross-pollinate and one affected the other.” Art21 talked with Baldessari in his studio in a 2009 video interview. “I think my idea is Baldessari, 2015 Photograph: Stefanie Keenan this: not so much structure that it’s inhibiting, that there’s no wiggle room, not so loose that it could be anything…like a corral around your idea.” The Tate Modern celebrated Baldessari’s towering career with the 2009 retrospective Pure Beauty.
    [Show full text]