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Maria Goodman Gallery

John Baldessari: Movie Scripts / Art, 2014

October 22 - November 22, 2014
Opening reception: Wednesday, October 22nd, 6-8 pm

Maria Goodman Gallery is delighted to present an exhibition of new work by John Baldessari, Movie Scripts / Art, 2014 which will open to the public on Wednesday, October 22nd, and rub through November 22nd.

Baldessari's relationship to words and pictures, his pairing of photography and language, was first brought into the realm of art in the Text paintings and Photo-text paintings of the 1960s. Later, his characteristic pairing of image and text, selecting and contrasting unrelated objects, paved the way for a pictorial system assembled of incongruent elements that interact and correlate with each other, allowing for subtle shifts of meaning and context. In later series, such as the National City works, Goya series, Elbows Tetrads, Prima Facie and onwards, Baldessari broke the canvas into sections representing ways of constructing imagination and the world. This doubling could entail two words, two images, or word and image: it was the bringing of two or more things together that was key ... "get(ting) them close enough so there's some sort of synapse and something new is created - it could ... be Dr. Frankenstein-like or it could be meaningful. I do like when a third meaning is created. I find quite interesting."

A Rare Poster By John Baldessari available IN STORE.

More recently, the Doubles series reinvented this coupling, placing art historical images with texts and disparate titles from film noir or popular songs, asking the viewer to fashion new meaning from old masterpieces. The recent Storyboards (in 4 Parts), and Morsels and Snippets, similarly culled material from newspapers and magazines, placing it with on the hand, text and color charts, or on the other, high-end food entries, as a commentary on narrative sequencing as well as our cultural preoccupations.

In the current exhibition Movie Scripts/ Art 2014, Baldessari goes one step further, selecting fragments of received art historical images and editing the images down to a detail in order to conceal their art historical lineage, pairing them with texts from movie scripts. This continues a process which he began in Scene/Take...(2014), however here Baldessari applies a chance method to the scripts themselves and chooses to modify his pairings with an inventive collage of both found and fabricated texts - 'movie scripts' -- in relation to illustrative of his chosen image:

"The idea was to take fine art and put it into the location of the movie scripts. The script itself is collage - some of the lines come from actual movies and I've written others to make the text work with the found image. In this way, the details of old dead guys' paintings (from the collection of the Städel Museum in Frankfurt, where this work will be exhibited in relation to the historical paintings) become illustrations of the movie scripts. I found this mélange of high art and Hollywood amusing."
- John Baldessari 2014

Posters by John Baldessari available here.

John Baldessari's recent solo exhibitions include Your Name in Lights at Monnaie de Paris, which was on view in September/October, as well as John Baldessari: 1+1=1 at the Garage for Contemporary Culture in Moscow which ended last November. Forthcoming shows include an exhibition at Städel Museum, Frankfurt in the Fall 2015.

Baldessari's work is currently included in Damage Control: Art and Destruction Since the 1950s which premiered at the Hirshhorn Museum and Sculpture Garden, Washington, D.C in the Fall of 2013, traveling to MUDAMMusée d’Art Moderne Grand-Duc Jean, Luxembourg this past Summer/Fall, and will open on November 14th at Kunsthaus Graz, Austria.

John Baldessari has been the recipient of numerous prestigious awards, including the 2012 Kaiserring Award by the city of Goslar, Germany (past recipients have included Matthew Barney, David Lynch and Rosemarie Trockel). He was awarded the Golden Lion Award for Lifetime Achievement at the 53rd Venice Biennale in 2009. In 2008 he received the Biennial 

Award for Contemporary Art the Bonnefantenmuseum, Maastricht.

He was the subject of recent retrospective, "John Baldessari: Pure Beauty," that retraced his career from 1962 to 2010. Organized by the Tate Modern, London, the exhibit traveled to MACBA Barcelona; LACMA, Los Angeles and the Metropolitan Museum of New York from 2010-2011.

Yale University Press has recently published two volumes of John Baldessari:

Catalogue Raisonné: the first in 2012, titled John Baldessari: Catalogue Raisonné:
Volume One: 1956-1974 which covers his unique works during the years 1956-1974; and the second, John Baldessari: Catalogue Raisonné: Volume two: 1975 - 1986 in 2013. Forthcoming in 2015, Volume Three: 1987-1993 is due to be published.



"That woman, as nature has created her, and man at present is educating her, is man's enemy. She can only be his slave or his despot, but never his companion. This she can become only when she has the same rights as he and is his equal in education and work."
                                                                                  (Venus in Furs by Leopold von Sacher-Masoch)

                                                                                        (Image: Harry Novak) WATCH HERE

Following the latest version of Venus In Furs by Roman Polanski (2013) and going through the book written in (1870) by Leopold von Sacher - Masoch, another version produced by Harry Novak (1967). Legendary exploitation cinema producer and distributor Harry H. Novak Nicknamed "The Sultan of Sexploitation" produced numerous films in such manner, some of his titles include "Mini-Skirt Love", "Cool It Baby" and many more.

WARNING: This program contains Nudity, Sexual Situations, and the Sort of People You'll Never Meet In Real Life!



 Betty Thompson

Betty Tompkins' Fuck Paintings were begun in the early 1970s and are based on surreptitiously obtained hardcore pornographic magazines, feature gynecological close ups of penetration, and are painted in an extraordinary and gorgeous monographic palette. This is sex, but on an Olympian scale; It's a distance and far-from-dumb view of heterosexual coupling, but none the less erotic for that. Text by Martin Herbert. BUY HERE



October 9 - November 8, 2014
456 W 18th Street

Petzel Gallery is pleased to announce an exhibition of new silkscreens by the London-based artist John Stezaker and the U.S. premiere of his film "Blind". This is the artist's fourth solo exhibition at the gallery. 

Shadows and silhouettes have been a dominant feature in Stezaker's work since the late 1970s. Some of the earliest of his silhouettes collages called the "Dark Stars,"1979-80, involved the removal of the main figures from cinema publicity portraits of the '40s and '50s and were shown at Petzel Gallery in 2011. In addition to these and other small-scale 'shadow' collages of 1970s and '80s Stezaker also went on to exploit the silhouette device in silkscreen prints on canvas, the first of which was produced in 1989. Now, for the first time in 25 years, he has been able to return to his series of silkscreen prints on black canvas. 

Stezaker's "Shadow" silkscreens respond to the projection and enlargement of the cinematic image. By using redundant lobby film stills as his source material, he inverts their staged, condensed and illustrative scale and returns them to the cinematic experience they once endeavored to represent. Most of the images used in the "Shadow" series come from the 1940s and '50s when the dominant image of cinema seemed to shift from the central spotlight of spectacular vision to the periphery of shadow in what became known as "film noir". Indeed, the shadowy underworlds of B-movies have been a significant source of fascination within Stezaker's relationship to the cinematic image. Whereas his collages establish a distance and remove from the appropriated image, Stezaker's silkscreens generate a palpable bodily through shadowy absences.

Stezaker's return to silkscreen printing reflects a general shift of interest towards the projected image in his recent work. In his latest film "Blind," he also returns the film still to the space of cinematic projection by creating a film of stills - a still film. By projecting a random sequence of his collection of film stills - a still film. By projecting a random sequence of his collection of his collection of film stills, each at 1/24th of a second, a duration at which the eye is said to be physiologically blind to each image, "Blind" creates an intense and dazzling palimpsest of after-images. Initially, "Blind" seems like an overwhelming bombardment of disparate images, like an encounter with the violence of the film image and the incessant difference of image technology. Gradually however, after yielding to the immersive experience, the intensity begins to settle into a dream-like space of estranged after-images.

Both the film and the silkscreens involve a suspension of the image from its original function. Whereas Stezaker's silkscreens and collages generate stilled disconnections through.

John Stezaker was born in England. His work appeared most recently in the 19th Biennale of Sydney in Australia. Institutional solo exhibitions include Tel Aviv Museum of Art, Israel (2013) and the Whitechapel Gallery, London, (2011), which traveled to MUDAM Luxembourg and the Kemper Art Museum in St. Louis. His work is included in the public collections of the Museum of Modern Art, New York, the Tate Collection, London; the Los Angeles County Museum of Art; and the Ellipse Foundation, Cacais. He lives and works in London.

Petzel Gallery is located at 456 W 18th Street, New York, NY 10011. Gallery hours are Tuesday through Saturday from 10:00am - 6.00pm. For press inquires, please contact Andrew Black at andrew@petzel.com, or call (212) 680-9467.



Life And Death.

What a great experience from Jim Shaw latest show at Metro Pictures, we wanted to meet him in person and try to get a few insides about his latest work but apparently we missed the opening day. Maybe some day soon. Instead go check out his work in the gallery pretty powerful. Also his book "Life And Death" a last copy and you can get it here.



Opening Reception and Book Signing September 12, 6-8pm
Jim Shaw presents new paintings in his exhibition “I Only Wanted You to Love Me” at Metro Pictures. One of the most influential artists of his generation, Shaw ardently researches a vast spectrum of subjectsfrom comic books he has accumulated since childhood to mythologyand dizzyingly incorporates them into his drawings, paintings, sculpture and videos. These latest works, done on sections of old theater backdrops, include elements from Disney, Richard Wagner’s Ring Cycle, Jimi Hendrix cover art and his dreams to talk about subjects such as workaholism, the biochemical industry and 19th Century monopoly capitalism. Drawing from da Vinci’s Deluge drawings, Shaw’s painting The Deluge depicts an arm extending from a crashing wave and from this “hand of God,” as Shaw refers to it, an enraptured Eva Marie Saint and heroic-looking Cary Grant emerge. With a tugboat from the original backdrop left in the background, Grant’s hand rests on an oversize nose carved into the rock of Mt. Rushmore.
The elision of everyday and mythological realities and allegories has been emblematic of Shaw’s work for more than thirty years. He has elaborately developed characters and narratives that draw on America’s history and culture, its products and artifacts, to make three extensive bodies of work. My Mirage tells the story of Billy, a blond-haired, blue-eyed suburban youth born in the 1950s who delves into a world of psychedelia during his college years and, after a bad acid trip, joins a pagan sect before finally becoming a Christian Fundamentalist. Shaw’s intricate pseudo-religion Oism closely resembles Mormonism and other homespun American religions. Founded by a virgin named O who gives birth to herself, Oism is replete with its own history, objects of worship and ritual. In the ongoing Dream Drawings and Dream Objects series of drawings, paintings and sculpture, Shaw draws on his subconscious to plot out the narratives of his dreams and make surreal objects.
Jim Shaw attended the California Institute of the Arts in the late 1970s. Graduating with artists that included Mike Kelley, John Miller and Tony Oursler, the group became known for their reaction against the material restrictions adhered to by the conceptual artists of the 70s, many of whom were their teachers at Cal Arts.
Shaw will sign copies of his new book The Hidden World during the opening reception. This exhibition catalogue, published by Koenig Books, follows his 2013 show at the Chalet Society in Paris, which exhibited Shaw’s collection of paraphernalia from religious orders and fraternities, conspiracy theorists and children’s encyclopedias. The Hidden World is on view at Centre Dürrenmat, Neuchatel, Switzerland through December 7.
An exhibition of Shaw’s work opens at Mass MoCA in spring 2015. Past one-person exhibitions include Baltic Centre for Contemporary Art, Gateshead, UK; Museum Boijmans van Beuningen, Rotterdam; CAPC, Musee de’Art Contemporain de Bordeaux; MoMA PS1, New York; Magasin, Centre National d’Art Contemporain, Grenoble; ICA, London; and Musee d’Art Moderne et Contemporain, Geneva. His work has been in group shows at Walker Art Center, Minneapolis; Los Angeles County Museum; New Museum, New York; Museum of Modern Art, New York; Centre Pompidou, Paris; and Museum of Contemporary Art, Los Angeles. He participated in the 55th Venice Biennale in 2013.
                                For more images please click here.



Fred Wilson

Fred Wilson (born 1954, the Bronx) has created site-specific installations in collaboration with museums and cultural institutions throughout North America, the Caribbean, Europe, the Middle East, and Asia. His work encourages viewers to reconsider social and historical narratives and raises critical questions about the politics of erasure and exclusion. Beginning with the groundbreaking and critically accalaimed exhibition Mining the Museum (1992-93) at the Maryland Historical Society, Fred Wilson has juxtaposed and re-contextualized existing objects to create new installations, which alter their traditional meanings or interpretations. In 2003, Wilson represented the United States at the 50th Venice Biennale with the solo exhibition, Fred Wilson: Speak of Me as I Am. His many accolades include the prestigious John D. and Catherine T. MacArthur Foundation “Genius” Grant (1999), amongst others.