Property from the Collection of an Important European Collector John Baldessari Follow Upward Fall black and white prints with oil tints and metallic paper, in 5 parts, in artist's frames smallest part 75.1 x 16.2 cm (29 5/8 x 6 3/8 in.) lower left and right parts each 62.5 x 62.5 cm (24 5/8 x 24 5/8 in.) right vertical part 77.6 x 32 cm (30 1/2 x 12 5/8 in.) largest part 179.5 x 47.5 cm (70 5/8 x 18 3/4 in.) overall 241 x 172 cm (94 7/8 x 67 3/4 in.) Executed in 1986, this work is unique.
Provenance Margo Leavin Gallery, Los Angeles Brooke Alexander Gallery, New York Fried, Frank, Harris, Shriver & Jacobson LLP Art Collection, Los Angeles Brooke Alexander Gallery, New York Acquired from the above by the present owner Exhibited Los Angeles, Margo Leavin Gallery, John Baldessari , 1986 Los Angeles, Museum of Contemporary Art; San Francisco Museum of Modern Art; Washington DC, Hirshhorn Museum and Sculpture Garden; Minneapolis, Walker Art Center; New York, Whitney Museum of American Art; Musée d’Art Contemporain de Montréal, John Baldessari Retrospective, 25 March 1990 - 13 February 1992, pp. 149, 150, 151, 252 (illustrated, p. 151) Carré d'Art, Musée d'Art Contemporain de Nîmes, John Baldessari From Life, 19 October 2005 - 1 January 2006, pp. 14, 38, 129, 154 (illustrated) London, Tate Modern; Museu d'Art Contemporani de Barcelona; Los Angeles County Museum of Art; New York, Metropolitan Museum of Art, John Baldessari Pure Beauty , 13 October 2009 - 9 January 2011, pp. 247, 320 (illustrated, p. 252) Literature Edward J. Sozanski, ‘In Front Lines for Conceptual Art: John Baldessari at the Whitney’, Philadelphia Inquirer, 21 July 1991, p. 61 Jerry Saltz, ‘John Baldessari: The Curious Discovery of A+I(Ov.)=∞or the Smile of Reason’, Forum International, no. 14, September – October 1992, p. 78 This Not That, exh. cat., Serpentine Gallery, London, 1995, p. 24 Aaron Schuman, ‘Pure Beauty: An Interview with John Baldessari’, Hotshoe International , no. 162, October - November 2009, p. 33 Sidra Stich, ‘Conceptual Alchemy: A Conversation with John Baldessari’, American Art, vol. 19, no. 1, Spring 2005, pp. 60, 70 (illustrated, p. 60) Wendy Weitman, 'Between the Ink and the Photograph', John Baldessari : a catalogue raisonné of prints and multiples, 1971-2007, New York, 2009, pp. 27-28 (illustrated, p. 28) Laura Mulvey ‘John Baldessari’, A Magazine, no. 11, 2012, pp. 109, 112 (illustrated, p. 112) Patrick Pardo and Robert Dean, eds., John Baldessari Catalogue Raisonné, 1975-1986, vol. II, New Haven, 2013, no. 1986.39, p. 374 (illustrated) Catalogue Essay A towering figure in contemporary art, John Baldessari is widely considered one of the most influential artists to emerge since the mid-1960s. A founder and innovator of conceptual art, Baldessari’s disarming works have stretched the parameters of aesthetics, his investigative methods crucial in exposing artistic processes. Challenging prevailing assumptions about visual art, Baldessari’s impact on younger generations is profound, as a teacher at the California institute of the Arts and at UCLA. Famously cremating his works from 1953 to 1966, every surviving image within his subsequent prolific œuvre has been carefully selected. Each work is typified by his biting humour, with sometimes dark, always profound reflections. His sharp insights into the conventions of creating art, the nature of perception, and the relationship between language and images, question the very nature of communication. The present work’s importance is exemplified by its inclusion in pivotal solo exhibitions, namely his retrospective, travelling from MOCA (Los Angeles), SFMOMA (San Francisco), the Whitney Museum (New York), Hirschhorn (Washington) and Walker Art Centre among other museums between 1991 and 1992, and the seminal Pure Beauty exhibition, which originated at Tate Modern (London) and travelled to MACBA (Barcelona), LACMA (Los Angeles) and the Metropolitan (New York) in 2009. Drawing on cinematic elements which he explored in his 1970’s works, Baldessari structures a narrative and creates a storyboard through his cropped and enlarged stills, combining disparate images to invoke highly suggestive connections and ambiguous meanings. Developing his ‘60s text and image paintings, Baldessari’s ‘80s photocompositions are decisive in the development of appropriation art and the Pictures Generation movement. Influencing artists such as Cindy Sherman and Richard Prince Baldessari’s practice a
Property from the Collection of an Important European Collector John Baldessari Follow Upward Fall black and white prints with oil tints and metallic paper, in 5 parts, in artist's frames smallest part 75.1 x 16.2 cm (29 5/8 x 6 3/8 in.) lower left and right parts each 62.5 x 62.5 cm (24 5/8 x 24 5/8 in.) right vertical part 77.6 x 32 cm (30 1/2 x 12 5/8 in.) largest part 179.5 x 47.5 cm (70 5/8 x 18 3/4 in.) overall 241 x 172 cm (94 7/8 x 67 3/4 in.) Executed in 1986, this work is unique.
Provenance Margo Leavin Gallery, Los Angeles Brooke Alexander Gallery, New York Fried, Frank, Harris, Shriver & Jacobson LLP Art Collection, Los Angeles Brooke Alexander Gallery, New York Acquired from the above by the present owner Exhibited Los Angeles, Margo Leavin Gallery, John Baldessari , 1986 Los Angeles, Museum of Contemporary Art; San Francisco Museum of Modern Art; Washington DC, Hirshhorn Museum and Sculpture Garden; Minneapolis, Walker Art Center; New York, Whitney Museum of American Art; Musée d’Art Contemporain de Montréal, John Baldessari Retrospective, 25 March 1990 - 13 February 1992, pp. 149, 150, 151, 252 (illustrated, p. 151) Carré d'Art, Musée d'Art Contemporain de Nîmes, John Baldessari From Life, 19 October 2005 - 1 January 2006, pp. 14, 38, 129, 154 (illustrated) London, Tate Modern; Museu d'Art Contemporani de Barcelona; Los Angeles County Museum of Art; New York, Metropolitan Museum of Art, John Baldessari Pure Beauty , 13 October 2009 - 9 January 2011, pp. 247, 320 (illustrated, p. 252) Literature Edward J. Sozanski, ‘In Front Lines for Conceptual Art: John Baldessari at the Whitney’, Philadelphia Inquirer, 21 July 1991, p. 61 Jerry Saltz, ‘John Baldessari: The Curious Discovery of A+I(Ov.)=∞or the Smile of Reason’, Forum International, no. 14, September – October 1992, p. 78 This Not That, exh. cat., Serpentine Gallery, London, 1995, p. 24 Aaron Schuman, ‘Pure Beauty: An Interview with John Baldessari’, Hotshoe International , no. 162, October - November 2009, p. 33 Sidra Stich, ‘Conceptual Alchemy: A Conversation with John Baldessari’, American Art, vol. 19, no. 1, Spring 2005, pp. 60, 70 (illustrated, p. 60) Wendy Weitman, 'Between the Ink and the Photograph', John Baldessari : a catalogue raisonné of prints and multiples, 1971-2007, New York, 2009, pp. 27-28 (illustrated, p. 28) Laura Mulvey ‘John Baldessari’, A Magazine, no. 11, 2012, pp. 109, 112 (illustrated, p. 112) Patrick Pardo and Robert Dean, eds., John Baldessari Catalogue Raisonné, 1975-1986, vol. II, New Haven, 2013, no. 1986.39, p. 374 (illustrated) Catalogue Essay A towering figure in contemporary art, John Baldessari is widely considered one of the most influential artists to emerge since the mid-1960s. A founder and innovator of conceptual art, Baldessari’s disarming works have stretched the parameters of aesthetics, his investigative methods crucial in exposing artistic processes. Challenging prevailing assumptions about visual art, Baldessari’s impact on younger generations is profound, as a teacher at the California institute of the Arts and at UCLA. Famously cremating his works from 1953 to 1966, every surviving image within his subsequent prolific œuvre has been carefully selected. Each work is typified by his biting humour, with sometimes dark, always profound reflections. His sharp insights into the conventions of creating art, the nature of perception, and the relationship between language and images, question the very nature of communication. The present work’s importance is exemplified by its inclusion in pivotal solo exhibitions, namely his retrospective, travelling from MOCA (Los Angeles), SFMOMA (San Francisco), the Whitney Museum (New York), Hirschhorn (Washington) and Walker Art Centre among other museums between 1991 and 1992, and the seminal Pure Beauty exhibition, which originated at Tate Modern (London) and travelled to MACBA (Barcelona), LACMA (Los Angeles) and the Metropolitan (New York) in 2009. Drawing on cinematic elements which he explored in his 1970’s works, Baldessari structures a narrative and creates a storyboard through his cropped and enlarged stills, combining disparate images to invoke highly suggestive connections and ambiguous meanings. Developing his ‘60s text and image paintings, Baldessari’s ‘80s photocompositions are decisive in the development of appropriation art and the Pictures Generation movement. Influencing artists such as Cindy Sherman and Richard Prince Baldessari’s practice a
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