John Baldessari: A Different Kind of Order. Arbeiten (Work) 1962-1984. Edited by Rainder Fuchs with Museum Moderner Kunst Stiftung Ludwig, Vienna. Introduction by Edelbert Köb. Foreword by Edelbert Köb and Peter Pakesch. Texts (in English and German) by Rainer Fuchs, Anne Rorimer, Winifried Pauleit, and Marie de Brugerolle. Conversation between Baldessari, Matt Mullican, and Tracey Bashkoff. Museum Moderner Kunst Stiftung Ludwig, Vienna/Verlag der Buchhandlung Walther König, Köln, 2005. 327 pp. Thick quarto. Stiff illustrated wrappers. Numerous color and black-and-white reproductions.
Life's Balance. Werke (Works)84-04. Edited by Peter Pakesch. Show curated by Adam Budak and Peter Pakesch. Foreword by Edelbert Köb and Peter Pakesch.Texts (in English and German) by Peter Pakesch, Adam Budak, Klaus Hoffer, Hans Dieter Huber, Gertrud Koch, plus a conversation with Baldessari, Ann Goldstein, and Christopher Williams. Kunsthaus Graz, Austria/Verlag der Buchhandlung Walther König, Köln, 2005. 239 pp. Quarto. Stiff illustrated wrappers. Numerous color and black-and-white reproductions.
Two volumes housed in glazed paper over board slipcase (shown at right).
Rare slipcased set of these definitive Baldessari catalogues!
"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