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‘An Opera for Animals’ at Rockbund Art Museum Ocula Report ‘An Opera for Animals’ at Rockbund Art Museum 19 Jul 2019 : Penny Liu for Ocula

An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...

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Zoe Butt on the Challenges and Rewards of Curating Ocula Conversation Zoe Butt on the Challenges and Rewards of Curating

Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...

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Ocula 报告|Condo Shanghai 2019 展览看点 Ocula Report Ocula 报告|Condo Shanghai 2019 展览看点 11 Jul 2019 : Penny Liu for Ocula

即将于2019年7月13开幕的第二届 Condo Shanghai,联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市,如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城,为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥,《景观/对象WA》(2016)。橡木上固化油墨打印,左: 55.88 × 147.32 cm,中: 121.92 × 152.4 cm,右: 55.88 × 147.32 cm,图片提供:马凌画廊,上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...

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John Baldessari

b. 1931, USA

John Baldessari is an artist's artist. He is celebrated as one of the most influential living artists today, both as a pioneer in conceptual art and as a teacher for more than three decades. In addition to his language-based paintings and performances of the late 1960s and 1970s, now considered milestones in conceptual art, Baldessari is also known for his use of colourful dot-shaped adhesives to conceal faces in photographs. As an artist who has often expanded his repertoire through painting, printmaking, sculpture, photomontage, video, film and books, Baldessari's work is characterised by humour, wit and an air of insouciance towards tradition.

Baldessari began his career as a painter, working with oils in the abstract expressionist manner that was dominant in America at the time. Many of his early paintings, however, have not survived, because in 1970 he burned the artworks made between 1953 and 1966 in a crematorium. Baldessari conceived the incineration as an artwork in itself, documenting and titling it Cremation Project. After the burning, the artist commemorated the destroyed paintings by having their birth and death dates inscribed on bronze plaques, and baking cookies with their ashes. Cremation Project signalled both his break with abstract expressionism and his increasing experimentation with conceptual art.

Throughout his career, Baldessari has questioned the role of the artist and the meaning of authorship by diminishing authorship and challenging traditional boundaries in art-making. In the late 1960s, he occasionally hired professional sign painters to paint for him, notably Pure Beauty (1966–8), a simple white canvas with its title written across it in black capital letters. Such sign paintings not only emphasise the importance of concept over the artist's touch, but also disconcert the definition of a painting as composed of images by creating paintings composed of signs. In another iconic work, I Will Not Make Any More Boring Art (1971), Baldessari asked students at the Nova Scotia College of Art and Design in Halifax, Canada, to write the sentence 'I will not make any more boring art' on the gallery walls of his exhibition. The well-known performance emerged from his lack of finances to travel to Nova Scotia, where the artist had been asked to exhibit. Baldessari, who had been deeply dissatisfied with the limitations of traditional painting, conceived to cover the space that conventionally hangs paintings with sentences in a repeated manner that resembles a punishment. At the same time, however, the artist intended the punishment-performance to be instructive for young students, encouraging them to rebel against tradition.

In the 1980s, Baldessari began using stills from B movies or noir films to create fragmented and ambiguous narratives. For example, the collage Kiss/Panic (1984) consists of ten images of hands holding guns that frame an extreme close-up of a kiss and a scene with a gathering. The guns point away from the central images as if to protect or threaten moments of intimacy by holding them hostage. During this period, Baldessari also began to block out faces, bodies and other parts of photographs with paint, later utilising his famous dots to cover faces as a way of withholding important visual information from the viewer. Confronted with the concealed spaces, the spectator becomes an active participant, using their imagination to complete the missing parts.

Text and image remain central to Baldessari's practice, in which unrelated components are paired to stimulate the viewer's participation in the construction of meaning. OFFICE BUILDING—DAY MAYO Is there a Courbet for sale here? (2017), for instance, depicts the emoji of a green gecko, multiplied in size and printed on canvas, above the question in its title. By juxtaposing elements with no apparent relationship, Baldessari encourages the viewer to search for possible links between them—making associations and speculations, actively constructing meaning in the process. His 'Movie Scripts / Art' series (2014), which pairs excerpts from film scripts with details of art historical images, achieve a similar effect.

Baldessari studied art and literature at San Diego State University, where he received his MA in art history in 1957, and completed further post-graduate work at Otis Art Institute, Chouinard Art Institute and the University of California, Berkeley. Since first teaching art in his native National City in 1959, he taught for more than three decades at junior colleges, community colleges and universities. Between 1970 and 1988 he held his celebrated Post-Studio Art classes at CalArts, which encouraged young artists to experiment outside traditional painting and sculpture. Among his first students were Barbara Bloom, Troy Brauntuch, Matt Mullican, David Salle and James Welling, who are now some of the most prominent artists of their generation. Baldessari returned to teaching in 1996 at the University of California, Los Angeles and continued to teach until 2007, further contributing to contemporary art by influencing a younger generation of artists.

Baldessari's work has been exhibited extensively in the US and Europe; the artist's biography on his website reveals that he has held more than 200 solo exhibitions and over 1000 group exhibitions. Recent solo exhibitions include Learning to Read with John Baldessari at Museo Jumex, Mexico City (2017); John Baldessari, the inaugural show of Sprüth Magers in Los Angeles (2016); and John Baldessari: Pure Beauty (2009), a major retrospective organised by Tate Modern that travelled to Museu d'Art Contemporani de Barcelona, Los Angeles County Museum of Art and New York's Metropolitan Museum of Art in 2010. In 2009 Baldessari was awarded the Golden Lion for Lifetime Achievement at the 53rd Venice Biennale. The artist lives and works in California.

Sherry Paik | Ocula | 2018
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Featured Artworks

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Prima Facie (Fourth State): Green and Et Cetera by John Baldessari contemporary artwork
John BaldessariPrima Facie (Fourth State): Green and Et Cetera, 2005 Archival pigment print and silkscreen on canvas
169.5 x 273 cm
Galerie Greta Meert
Hot & Cold Series: YES, THANK YOU, BETTY There's one called... by John Baldessari contemporary artwork
John BaldessariHot & Cold Series: YES, THANK YOU, BETTY There's one called..., 2018 Varnished inkjet prints on canvas with acrylic paint
145.7 x 238.8 x 3.8 cm
Marian Goodman Gallery
Hot & Cold Series: GILLIS Hungry?, HUH? by John Baldessari contemporary artwork
John BaldessariHot & Cold Series: GILLIS Hungry?, HUH?, 2018 Varnished inkjet prints on canvas with acrylic paint
145.7 x 238.8 x 3.8 cm
Marian Goodman Gallery
Hot & Cold Series: THE FAT MAN... BETTY Except for about six pages by John Baldessari contemporary artwork
John BaldessariHot & Cold Series: THE FAT MAN... BETTY Except for about six pages, 2018 Varnished inkjet prints on canvas with acrylic paint
Marian Goodman Gallery
BLAH by John Baldessari contemporary artwork
John BaldessariBLAH, 2018 Mixografia® print on handmade paper
91.44 x 121.92 inches
Krakow Witkin Gallery
Miró and Life in General: Incumbent by John Baldessari contemporary artwork
John BaldessariMiró and Life in General: Incumbent, 2016 Varnished inkjet print on canvas with acrylic paint
243.5 x 128.3 x 3.8 cm
Marian Goodman Gallery
Penguin by John Baldessari contemporary artwork
John BaldessariPenguin, 2018 Polyurethane, stainless steel, acrylic, epoxy resin, and paint
79 x 29 x 32 inches
Beyer Projects
Giacometti with Barrel by John Baldessari contemporary artwork
John BaldessariGiacometti with Barrel, 2018 Bronze, resin, stainless steel, and mixed media
186 x 26 x 25 inches
Beyer Projects

Recent Exhibitions

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Contemporary art exhibition, John Baldessari, Hot & Cold at Marian Goodman Gallery, New York
Closed
3 May–15 June 2019 John Baldessari Hot & Cold Marian Goodman Gallery, New York
Contemporary art exhibition, John Baldessari, Brain/Cloud (Two Views) at Marian Goodman Gallery, London
Closed
8 November 2018–12 January 2019 John Baldessari Brain/Cloud (Two Views) Marian Goodman Gallery, London
Contemporary art exhibition, Group Exhibition, Towards Infinity: 1965-1980 at Simon Lee Gallery, London
Closed
4 July–7 September 2018 Group Exhibition Towards Infinity: 1965-1980 Simon Lee Gallery, London

Represented By

In Ocula Magazine

Bob Rennie Ocula Conversation Bob Rennie Collector

In Vancouver's Chinatown, an area wedged between the gleaming office towers of the city's affluent West End and the city’s poorest neighbourhood, Downtown Eastside, is a gallery showcasing work from one of the world’s leading private collections.Housed in a restored iteration of Chinatown’s oldest building, the...

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In Related Press

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Frieze Sculpture 2018: the highlights Related Press Frieze Sculpture 2018: the highlights Wallpaper* : 4 July 2018

Between Wimbledon and the FIFA World Cup, there's been plenty of distractions from London's unusually Mediterranean weather of late.

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John Baldessari on his giant emoji paintings: 'I just wondered what they'd look like large' Related Press John Baldessari on his giant emoji paintings: 'I just wondered what they'd look like large' The Guardian : 27 November 2017

The neighbourhood surrounding John Baldessari's studio in Venice is as eclectic as it is incongruous. Sleek, modernist homes sit next to quaint bungalows, while an old hippy with a surfboard tucked under one arm bikes past a Sotheby's real estate sign hanging in front of a million-dollar home. With his laid-back demeanour, lanky 6ft 7in frame,...

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Top speed: John Baldessari creates his fastest ever artwork for BMW Related Press Top speed: John Baldessari creates his fastest ever artwork for BMW Wallpaper* : 12 December 2016

During this year's Art Basel Miami Beach, BMW unveiled the latest instalment of its Art Car collection, this time created in collaboration with American artist John Baldessari. It’s the 19th in a series of vehicles (or ‘rolling sculptures’) created by visual artists: since 1975, the German car marque has worked with Andy...

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The beasts within: Artists tap into their wild sides for a roaring show Related Press The beasts within: Artists tap into their wild sides for a roaring show Wallpaper* : 26 November 2016

Rarely before have we seen such a long and varied list of contributors, as we do in Marian Goodman Gallery's group show Animality. The 'cast of creatures' ranges from dogs, camels, fish to octopi, and charts a history from George Orwell to Gabriel Orozco by way of Marcel Broodthaers. Curator Jens Hoffmann, never one to turn down a...

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