John Baldessari

Marian Goodman Gallery, New York
Galerie Philomene Magers, Munich
Acquired by the present owner from the above in March 2002

New York, Sonnabend Gallery, John Baldessari, October - November 1975
Amsterdam, Stedelijk Museum, John Baldessari: Recent Work, November 1975 - January 1976
London, Robert Self Ltd., John Baldessari: Photographic Works, February 1977
Buffalo, Albright-Knox Art Gallery, John Baldessari: Selected Works, April - May 1981
Eindhoven, Municipal Van Abbemuseum; Essen, Museum Folkwang, John Baldessari: Werken 1966–1981, May - October 1981, pp. 36-37, illustrated
Los Angeles, The Museum of Contemporary Art; The San Francisco Museum of Modern Art; Washington, D.C., Hirschhorn Museum & Sculpture Garden; Minneapolis, Walker Art Center; New York, Whitney Museum of American Art; Musée d'Art Contemporain de Montreal, John Baldessari Retrospective, March 1990 - February 1992, no. 35, p. 142 & 145, illustrated

James Collins, "Pointing, Hybrids and Romanticism: John Baldessari,” Artforum, Vol. 12, no. 2, October 1973, pp. 53-58
John Baldessari, Four Events and Reactions (artist's book), 1975, illustrated
James R. Hugunin, “Cluing in to Baldessari,” New Art Examiner, Vol. 18, no. 1, September 1990, pp. 24-27 & 62
James R. Hugunin, Writing Pictures: Selected Essays, 1987-1993, Chicago, 1993, p. 87
Exh. Cat., Nîmes, Carré d'art - Musée d'Art Contemporain, John Baldessari: From Life, October 2005 - January 2006, p. 32
Exh. Cat., London, Tate Modern; Museu d'Art Contemporani de Barcelona; Los Angeles County Museum of Art; New York, the Metropolitan Museum of Art, John Baldessari: Pure Beauty, October 2009 - January 2011, p. 155, illustrated

This work is in very good condition overall. There are faint traces of developing solution on most elements, which are inherent to the artist's working method. There is minor creasing in the corners and along the edges of each element. In the bottom left corner of the sheet located on the far right there is evidence of a faint loss of emulsion ¾ of an inch from the bottom left corner, as well as two minor indentations in the top right quadrant of the photograph, one in the upper right corner and one 2 ¼ inches from the top and 3 ½ inches from the right edge, both of which are visible under raking light. Framed under glass.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

"I suppose I did a couple diptychs or triptychs in painting and that was about it. What got me away from the single image was movies. I began seeing paintings in a row in a museum as being like frames in a movie. So I got to fantasiszing... what was the frame before this van Gogh painting and what was the frame after? If you had a wide angle shot of the painting what would it look like? I started thinking about painting in cinegraphic terms." John Baldessari