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 Black Friday

Black Friday is here and we are offering a 10 percent discount in some of the hottest titles in art books /photography and editions.  The discount will continue over the weekend allow you more time to shop those items. Usually there is no discount but we will like you to know us better and get your hands flipping.

Some of the titles are
Robert Mapplethrope
Ari Marcopoulos 
Lele Saveri and many more please visit here.
Or Click Sale


Promo Code: 2LO4060MFDEW



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.