Art News Magazine – ARTnews is an American fine arts magazine based in New York. It includes art from ancient times to the present. There are news from reporters, investigation reports, exhibition reviews, artist and collector profiles.
The magazine was founded in 1902 by James Clarence Hyde as the Hydes Weekly Art News and originally appeared eleven times a year.
Art News Magazine
From volume 3, no. 52 (5 November 1904) vol. 21, Issue 18 (February 10, 1923), the magazine was published as American Art News. From February 1923 to the present the magazine has been published as The Art News and then ARTnews.
John Baldessari Creates A New Kind Of Chaos, In 1986
The magazine’s art critics and reporters include Arthur Danto, Linda Yablonsky, Barbara Pollock, Margarett Loke, Hilarie Sheets, Yale School of Art Dean Robert Storr, Doug McClemont, and Museum of Modern Art Director Glenn D. Lowry.
In April 2014, Milton and Judith Esterow, owners of the magazine since 1972, sold the publication to Skate Capital Corp., a private wealth management firm owned by Sergey Skaterschikov. It was later revealed that Skate Capital was acting on behalf of the Polish company Abbey House, which changed its name to ARTNEWS SA.
Following this ownership change, the magazine merged with Brant Publications’ Art in America, owned by BMP Media Holdings, LLC, in June 2015. In October 2015, ARTnews’ monthly broadcast frequency was changed to quarterly. In 2016, Brant Publications took full control of BMP.
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It features a profile of Baldessari that appeared in our January 1986 issue. The article examines Baldessari’s output, which often takes the form of witty, photographic works that promote ideas rather than images, and includes words from some of his fans, including conceptualist Lawrence Weiner, who described Baldessari as “one of the few humanists and Intellectuals”. Artist “Identified in the United States.” Reprinted with permission from the author, the full article is below. – Alex Grunberger
“I keep playing the game of changing this or that,” says John Baldessari, “I want you to believe that the plane turned into a seagull and the submarine into a mermaid…”
The artist took it from frame to frame, leaning against a packing crate at a time and happily kicking his foot at each canvas. Portraits of friends, studies on pine trees, landscapes, still lifes, a few abstractions, pop-style paintings on the remains of billboards – 13 years of accumulated work, now in ruins, was taken from the Jewish Museum to a morgue and burned. The ashes in a book-shaped vase were buried behind a bronze plaque that read “John Anthony Baldessari, May 1953-March 1966.”
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This act of destruction, carried out in 1970, made Baldessari one of the first conceptual artists. He quickly gained international attention and respect by advocating the superiority of the idea over practice in art.
“I stopped painting because I was afraid to paint for the rest of my life,” Baldessari said recently. “You know how to do nice things after a while.
“Initially, I had the idea to turn each picture into a microdot and send it to my friends with stamps. But I thought it would rise more like a phoenix from the ashes. It seems a little odd now, but at the time it seemed like a perfectly reasonable thing to do. I felt wonderfully free.”
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Baldessari, 54, sipped whiskey during a rare break at his Santa Monica studio, which he has called home since 1970. The absence of paintings or sculptures in the massive warehouse reflects its “post-studio” aesthetic. Floor-to-ceiling shelves filled with drooping books line the walls of the three rooms. File cabinets complete the facility. Behind the photographic darkroom is a small bedroom with a painting of Sol LeWitt hanging like a cross above the bed. Baldessari was preparing a trip to the Paris Biennale, where several of his works would be exhibited. “I travel so much that people in New York often think I live there. According to my statement from American Airlines, I flew 40,000 miles last year.
Baldessari was one of the first artists to legitimize the artistic use of images from the popular media (television, movies, newspapers and advertising). He exhibits annually at the Sonnabend Gallery in New York and frequently in Europe. But in his hometown of Los Angeles, people still say “John
? Oh yes. The tall man with the white hair who goes to all the openings.” His 1984 exhibition at the Margo Leavin Gallery was actually his first solo exhibition in this city since 1970.
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Given the situation, why is Baldessari staying in Los Angeles? “A sense of permission,” says the artist. “‘Why not?’ Also, I have to be a little angry to work, and L.A. pisses me off. It’s not a pretty city. I get mad at artists for being so stupid, and it makes me work. I’m mad at Los Angeles chauvinism.”
Baldessari is a skinny, 6-foot-tall, distinguished, even professorial man with a white walrus mustache and beard. However, her blue eyes are as mischievous as a child’s, and her hands look surprisingly delicate as she flips through her retrospective catalog in a German museum. He points to a painting of one of his favorite works,
(1976). It consists of six film stills: an airplane and a soaring bird; two shots of a motorboat in the middle entering the left frame and leaving the right; and on the ground stands a one-man submarine and a mermaid.
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“I wanted the work to be so layered and rich that it was difficult to synthesize,” explains Baldessari. “I wanted all the intellectual stuff to go, and at the same time I want you to believe that the plane turned into a seagull and the submarine into a mermaid as the motorboat passed. I am constantly playing the game of changing this or that visually or verbally. As soon as I see a word, I mentally spell it backwards. I take it apart and put the pieces back together to form a new word.”
It is clear that Baldessari, who once considered becoming an art critic, has a writer’s sensibility, so he works the similes on both a literary and visual level. They serve contemporary fairy tales by skillfully incorporating avant-garde baglama myths, allegories and metaphors. Baldessari began working with photographs and text in the late 1960s. As a reaction to the heroic attitude of the Abstract Expressionists and against the excessive commercialization of the art world, many artists decided to give up on object production at that time. Alternatively, minimalists embraced pure form, and conceptualists like Baldessari chose pure content.
In the early days, Baldessari was occasionally criticized for not being “pure”. But his friend and conceptualist Lawrence Weiner described him as “one of the few humanist and intellectual artists in the United States.” John
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It is pure because it understands that art is based on the relationship between people and that as Americans we understand our relationship to the world through different means. We think about every unusual situation related to something we see in the cinema. This is the foundation of our normal mass consciousness and how we see the world. Using materials that affect everyday life, John relates to the archetypal consciousness of what the media represent. High art is beneficial to society and helps people understand and relate to the world.” Baldessari seems to need to feel that his art has a useful purpose. As Weiner puts it, he is “a moral, responsible – Calvinist artist.”
Baldessari opens a slide in the desktop viewer. The screen glows with a mix of black-and-white film stills, and the artist conspiratorially says, “I
(1984) is a streamlined horizontal trio of a man with a pair of nails dangling from his lips, a car (a long dragster called a “Goldenrod”), and a man on the side of one.
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