Miró and Life in General: Relevant, 2016
Varnished inkjet print on canvas with acrylic paint
243.1 x 125.1 x 3.8 cm
From their apartment on the 30th floor of the Shelton Hotel in New York in 1925, the painter Georgia O’Keeffe and her husband, the photographer Alfred Stieglitz, looked out at the same view. On one side they witnessed the emerging city, and on the other, the low-rise profile of the East River. They captured these in much the same way. Yet O’Keeffe’s painted images and Stieglitz’s photos stand distinctly apart for us.
John Baldessari sees no good reason why painting and photography should have separate histories. Born in 1931, Baldessari came to maturity as an artist in the 1970s; a period of dramatic reconfigurations involving art theory and practice, and far removed from the limiting machismo of Abstract Expressionism. Baldessari has also worked as a teacher since the late 1950s, including a two decade involvement with CalArts. Of his philosophy of teaching, Baldessari states that he wanted to keep the “…wall as low as possible between instructor and student…”*. This is a strategy that has ensured a two-way exchange of ideas. As an artist, Baldessari keeps us looking at the exchange of meaning between the painted and photographic image and text by virtue of his even-handed treatment of all three.