JOHN BALDESSARI, Wrong [1966-1968], 2012
71 x 56 cm / 28 x 22 inches
digital print on archival paper
edition unknown
published by LACMA, Los Angeles, USA
mint
€ 285,- plus € 32,- Track & Trace EU registered mail
inv.JBal 000-pr
John Baldessari made this print as a painting between 1966 and 1968. He was intentionally questioning the conventions of photographic picture-making, among other things. He created this work after looking at an art instruction book about how to properly compose images. Baldessari had himself photographed in front of a palm tree. He comments: The person that did the book had sketches of the scene, of let’s say a landscape, but there would be two. And one would be right, according to him, and one would be wrong. And I loved the idea that somebody would just say that this is right and this is wrong. So I decided I would have a painting that was wrong, a work of art that was wrong, which seemed right to me.
Baldessari is interested in communicating his concept more than he is in creating something precious or unique. After he decided that his own handwriting was too personal and not distant enough he hired a professional sign painter to letter the word “wrong” you see on the original painting. This poster being just a mere reproduction may ‘as communicating his concept’ therefore be undeniably seen as a work of art, though unsigned.
John Baldessari says about his work: I’m very interested in both language and imagery; I don’t really know why, but I find word and image equally important. He is known for works that blend photographic materials such as film stills and applied discs in colour. He takes them out of their original context and rearranges their form, often outlining their shapes including the addition of words or short sentences.
Note:
In 2012, shipping costs to the EU were US$ 44.50 plus EU customs import duties of US$ 51.53. This print was sold out at LACMA, Los Angeles, USA. In ca 2024 the museum offered this print in 4 sizes:
History of prices:
eBay-dynas-46, Secaucus, New Jersey, USA September 2023 US$ 450
eBay-hypegallery, Houston, USA August 2022 US$ 399
UPON PAPER No. 2: Los Angeles, 2012
68,6 x 50,8 cm / 20 x 27 inches
SC, 80 pp., paper box
published by Hatje Cantz, Ostfildern, Germany
€ 85,- plus € 24,- Track & Trace registered mail
Published bi-annually, and housed in a paper box Upon Paper is a large-format periodical offering a platform for works on paper. Each issue is devoted to a single theme. The theme for this inaugural issue is ‘Color’ and comes with contributions of Peter Saville, Nick Knight, Francis Bacon, Erwin Frotin, Walter Pfeiffer and Bob Dylan.
UPON PAPER No. 1: Los Angeles, 2012
68,6 x 50,8 cm / 20 x 27 inches
SC, 80 pp., paper box
published by Hatje Cantz, Ostfildern, Germany
€ 85,- plus € 24,- Track & Trace registered mail
Published bi-annually, and housed in a paper box Upon Paper is a large-format periodical offering a platform for works on paper. Each issue is devoted to a single theme. The theme for this inaugural issue is Los Angeles.
LAWRENCE WEINER, Untitled [Dem Frieden eine Form geben], 1985
85 x 60 cm
offset
edition 50, of which 30 copies numbered 1/30 – 30/30 and 20 AP copies numbered I/XX – XX/XX
signed, numbered
Edition René Block, Berlin, Germany
condition: splendid
€ 400,- plus Track & Trace registered EU mail
inv.LWein 000-pr
ELVIRE BONDUELLE, Pour faire joli, 2011
pin, 3 parts, en laiton plaqué or ou argent massif, edition unknown
Elvire Bonduelle, Paris, France € 95,- September 2012
ROBERT BARRY, Art Lovers, 2006 27,6 cm x 27,6 cm
papers, 72 pages, in laminated box
numbered
edition 270 + 30 AP
published by Michèle Didier, Brussels, Belgium
not available
Art Lovers is an unbound book with plates superimposing two layers: a photographic portrait and a word outline cut into a black surface. Each portrait is covered by this black plane, turning the opening made by the word into letter shaped keyholes. The viewer can barely see the portraits and has to infer their subjects from a few sparse and vague elements. The 31 “Art Lovers” in question were photographed by the artist.
History of price:
Michèle Didier, Brussels, Belgium September 2012 € 175,-
IMI KNOEBEL, Untitled, 1968 – 1989
30 x 30 x 2 cm
stretcher frame, wood
numbered, signed in initials, dated
edition 1000
€ 480,- plus € 15,- Track & Trace registered EU mail
SARAH MORRIS, Big Ben 2012, 2011
76 x 60 cm
screen print with one glaze on 410 gsm paper
edition of 200
signed, numbered, dated
Counter Editions, London, UK GBP 900.- September 2012
Since the mid-1990s Sarah Morris has been creating complex, geometric, abstract paintings derived from cityscapes and architectural detail, signs and symbols. To celebrate the Paralympic Games 2012 in London Morris has created an abstract representation of one of the city’s most iconic landmarks: Big Ben. The grids and vivid colours create a sense of dynamism and also may evoke images of athletic tracks, swimming lanes, and field markings.
History of price:
Counter Editions, London, UK GBP 900.- September 2012
MARTIN CREED, Work No. 1273, 2011
76 x 60 cm
lithograph on 300 gsm paper
edition of 250
signed, numbered, dated
pubished by Counter Editions, London, UK
Martin Creed imposes simple rules on his creativity. He might create a painting using only paintbrushes bought in a multi-pack, or make only one mark a day with the same felt-tip pen until the whole paper surface is covered. Repetition, stacks, and intervals are familiar motifs in his work, along with ascending and descending structures. For Work No.1273, Creed has made five single brush marks using a palette derived from the Olympic colours. The marks are arranged in an ascending form that seems to represent an extended podium.
History of prices:
Counter Editions, London, UK £ 640.- September 2012
