John Baldessari: Close-Cropped Tales. CEPA Gallery, Buffalo, New York, 1981. Unpaged (appx. 60 pp). Small quarto. Edition of 3000 copies. Stiff wrappers. Black-and-white reproductions.
Near Fine+; Tanning to wraps; slight crease to one corner.
An important early catalog from CEPA Gallery in Buffalo, NY. CEPA along with Hallwalls made Buffalo at that time something of a hotbed of contemporary art (Cindy Sherman showed at CEPA the same year)
John Baldessari: RMS W VU: Wallpaper, Lamps, and Plants (New). Essays by Rein Wolfs and Jeremy Golber-Rolfe. Museum fur Gegenwartkunst, Zurich, 1998. 70 pp. Quarto. First edition. Stiff wrappers with tipped-on images front, rear and on inside flaps. Color reproductions. Texts in German and English
Fine-; moderately rubbed and edgeworn.
John Baldessari: Not Even So. (Ni Por Esas). Essays by Vicente Todoli, John Miller, and Thomas Lawson (Texts in Spanish). Centro de Arte Reine Sofia, Madrid, 1989. 92 pp. Quarto. First edition. Stiff photo-illustrated wrappers. Black-and-white and color reproductions.
Near Fine-; front hinge starting.
John Baldessari: California Viewpoints. Essay by Hunter Drohojowska. Santa Barbara Museum of Art, 1986. 20 pp. Octavo (Small Size). Stiff wrappers with die-cut revealing an image below. Saddle stitched [staple bound]. Black-and-white and color reproductions.
Fine; rare panel lightly smudged.
An important 80s show for Baldessari with a compelling essay by Hunter Drohojowska that sums up much of his appeal to the 'Pictures Generation' of artists.
John Baldessari: While something is happening here, something else is happening there. Works by John Baldessari. Essays by Meg Cranston, Diedrich Diederichsen and Thomas Weski (texts in German and English. International Award for Photography of the Foundation of Lower Saxony/Verlag der Buchlandlung Walther König, Köln, 1999. 123 pp. Quarto. Hardbound. No jacket as issued. Black-and-white and color reproductions.
Fine-; slight wear; lower corners very slightly 'kissed'.
An important catalogue of Baldessari's work covering the years 1988-1999 (i.e. following that of the catalogue above).
John Baldessari: The Telephone Book (With Pearls). Imschoot, Uitgevers For IC, Ghent, Belgium, 1988/1992. Unpaged (appx 75 pp). Octavo (small size). Second edition (originally published 1988). Stiff photo-illustrated wrappers. Color and black-and-white reproductions.
Light rubbing; otherwise Fine.
"The conceptual artist’s large collection of film stills is given a new narrative context through his intuitive cropping, collage and juxtapositions. The Telephone Book contains many of the graphic elements which Baldessari brought into his large photo-collage works of the 1980s – particularly the odd but distinctive shapes of the cropped images and the brightly colored circles or dots used to cover faces or other important details.?The Telephone Book is articulated mainly through the use of dramatic stills shots. In the opening sequence there is an image of a phone caught between two different persons’ hands; then the neck of a woman dancing with a male partner – again displaying pearls; and a third image in which another woman in a black cocktail dress wearing another string of pearls speaks on the phone. The sequence’s structure replays the main themes of the title through a careful deconstruction of the elements – the telephone and pearls – into variations on their identity. The same elements show up, but as different versions, and the assumption of their relation is strong enough to carry through the book into every appearance of phone or pearls. Male power and female objectification are presented as pictorial and cultural stereotypes… (Johanna Drucker, The Century of Artists’ Books, pp. 222-3).
John Baldessari. Text by Coosje van Bruggen. Rizzoli, New York, 1990. 256 pp. Large quarto. First edition. Stiff photo-illustrated wrappers. Numerous black-and-white and color reproductions.
Fine-; moderate rubbing; light edge wear.
"American artist John Baldessari rose to prominence in the late 1960s combining Pop Art’s use of imagery from the mass media with Conceptual Art’s use of language to create a unique body of work that has become a hallmark of postmodern art....By the 1980s Baldessari favored using appropriated images without text. By relying on arrangements of photographs and entirely removing written text, Baldessari demonstrated that pictures alone could deliver the same narrative message that his previous text-and-image composites had so effectively conveyed. By the mid-1980s Baldessari adopted the technique of concealing a face by placing a colored adhesive dot over it. This technique simultaneously flattened the image and emphasized the illusion of the scene. By obscuring a face (or later, a body part) Baldessari was able to erase individuality and transform a specific person into an obscure object. The white dots used in the first of these works were eventually replaced by colored dots, coded so that Baldessari could get multiple layers of meaning—red signaling danger, green for safety, and so on. Throughout his long and celebrated career, Baldessari has continued to play with and critique popular culture, and over time he has increased the scale and visual impact of his work."--Deutsche Guggenheim