JOHN BALDESSARI
Baldessari is known for breaking major ground in the Californian conceptual art scene between the 1960s and 1970s. He wanted to push the boundaries, because art galleries would not show photographs at the time. For his contribution to the Venice Bienniale, he appropriated titles from Goya's series 'disasters of war' as a basis for a series of new paintings. He combined either actual titles or Goya-esque titles with his own photographs, prioritizing neither. The Goya prints of 1810 were mainly etching, engraving and drypoint.
JOHN BALDESSARI
'and'
This image is created by Inkjet printing of synthetic polymer on canvas. A basic way of reading this image is to recognize 'and' as being an adjoining word and the paperclip being a joining device. He removed his own 'hand' and employed a commercial / lifeless style, so that the text would impact the viewer without distraction.
The text and image are not connected to anything else / they are connected on one level because they are on the same surface / if the paperclip was attached to something then it would be connected to the word on a different level. You see the text and the image at the same time because the image is so simple hat you recognize it instantly. More time is spent looking at the text / this is opposite to the way we look at Goya's etchings.
The photograph looks similar to a mug shot taken by police / it has a dreamlike quality with the paperclip seemingly floating above 'and'. This image seems to be holding the series together / connecting image?
He made work that demonstrated the narrative potential of images and the power of language. He tries to deal with the worlds objective quality / not personal.
'the semiotic game of this work is so simple that you get it at a glance.'
In 1970, Baldessari burnt his 1953 - 1966 paintings and put them in an urn as a piece / baked the ashes of the paintings into cookies. He says 'if i saw art around me that i liked, then i wouldn't make art'.
Goya's use of words is an understatement to the horrific imagery.
FRANCISCO GOYA
JEAN LUC GODDARD
'vivre se vie' - the 12th tableau
'we mustn't make political films, we should make films politically.'
'rather than talk, i'd rather see.'
'his films are like essays.'
'every director has the right to be free, but no director has the right to bore people to death.'
vivre se vie - my life to live
overall portrait / closing chapter / complex
Goddard's work is described as being 'film essays'.
Opening scene - text describing the scene (silent scene) lulling the viewer into a false sense of security / not containing as much information as the film. We feel a false sense of security with the titles and description, which is then undermined by the content of the film. This is a statement about text giving less information than film. It carries references to silent cinema. The beginning of the film is in contrast to the rest of the film as they are dancing and the rest of the film is quite tragic.
In the final chapter of 12 chapters, a woman falls in love with a man reading Edgar Allan Poe. The man's mouth is obscured when he is reading a book / is this his voice / speech / thought? Is it in fact Jean Luc Goddard's voice? 'shall i go on?' implies that he is reading and that it is not his thoughts. The subject of the book is quite tragic / pathetic and mirrors the scene being shown. The different angles and lights used when filming the girl make it look like a model shoot.
Prostitute - about beauty and image. The car in the next scene is a reference to Hollywood. Always being next to Hollywood but never really being involved in it - being thrown into a car by gangsters is straight out of a Hollywood film.
A queue is shown outside a cinema, which is a reference to film-making because the cinemas would often refuse to play Goddard's films. The characters deliberately drive past the Arc de Triomph - Paris. This is a reference to the social values of France / French government at the time. Restaurant de studios - found or put in as a prop / is a reference to Hollywood studios.
'Haydes and Sons' - as she is driving to a horrible end is quite ironic. We would only understand the film because it is subtitled. In the last scene - Hollywood reference - sharp end / death. She falls down - 'fin' - music carries on. Her thoughts come up as French subtitles along with English subtitles. There is a romantic soundtrack / lots of emotion / beautiful female protagonist. The 12 scenes are interrupted by titles and are not connective.
The story he is reading to the woman is about a painter becoming obsessed with his own work and forgetting about the woman. This is mirrored by the added English subtitles running over her mouth as he is reading to her.
bracht play / breaking the fourth wall.
Suddenly the plot is interrupted by someone coming to the front and speaking or singing. It is a montage / contradiction / fragmented. It is as if the characters already know what is going to happen. The plot is predicted by the man reading Edgar Allen Poe. The way the woman is moving is like the way a model would pose for a painter (the same as the book he is reading to her).
ILLUSTRATION BA
We have been working on a project based on 'Moby Dick'. We were asked to create a series of images to represent / work alongside the text. I decided to use paint and graphite to create 4 pieces of work depicting the atmosphere / density of the book, and also to show how hard it is to read / the actual weight of the literature. I did a lot of preparation / drawing the characters / whale. I did not want to include text in the images because i wanted them to look like old plates of images in a book.
Baldessari is known for breaking major ground in the Californian conceptual art scene between the 1960s and 1970s. He wanted to push the boundaries, because art galleries would not show photographs at the time. For his contribution to the Venice Bienniale, he appropriated titles from Goya's series 'disasters of war' as a basis for a series of new paintings. He combined either actual titles or Goya-esque titles with his own photographs, prioritizing neither. The Goya prints of 1810 were mainly etching, engraving and drypoint.
JOHN BALDESSARI
'and'
This image is created by Inkjet printing of synthetic polymer on canvas. A basic way of reading this image is to recognize 'and' as being an adjoining word and the paperclip being a joining device. He removed his own 'hand' and employed a commercial / lifeless style, so that the text would impact the viewer without distraction.
The text and image are not connected to anything else / they are connected on one level because they are on the same surface / if the paperclip was attached to something then it would be connected to the word on a different level. You see the text and the image at the same time because the image is so simple hat you recognize it instantly. More time is spent looking at the text / this is opposite to the way we look at Goya's etchings.
The photograph looks similar to a mug shot taken by police / it has a dreamlike quality with the paperclip seemingly floating above 'and'. This image seems to be holding the series together / connecting image?
He made work that demonstrated the narrative potential of images and the power of language. He tries to deal with the worlds objective quality / not personal.
'the semiotic game of this work is so simple that you get it at a glance.'
In 1970, Baldessari burnt his 1953 - 1966 paintings and put them in an urn as a piece / baked the ashes of the paintings into cookies. He says 'if i saw art around me that i liked, then i wouldn't make art'.
Goya's use of words is an understatement to the horrific imagery.
FRANCISCO GOYA
JEAN LUC GODDARD
'vivre se vie' - the 12th tableau
'we mustn't make political films, we should make films politically.'
'rather than talk, i'd rather see.'
'his films are like essays.'
'every director has the right to be free, but no director has the right to bore people to death.'
vivre se vie - my life to live
overall portrait / closing chapter / complex
Goddard's work is described as being 'film essays'.
Opening scene - text describing the scene (silent scene) lulling the viewer into a false sense of security / not containing as much information as the film. We feel a false sense of security with the titles and description, which is then undermined by the content of the film. This is a statement about text giving less information than film. It carries references to silent cinema. The beginning of the film is in contrast to the rest of the film as they are dancing and the rest of the film is quite tragic.
In the final chapter of 12 chapters, a woman falls in love with a man reading Edgar Allan Poe. The man's mouth is obscured when he is reading a book / is this his voice / speech / thought? Is it in fact Jean Luc Goddard's voice? 'shall i go on?' implies that he is reading and that it is not his thoughts. The subject of the book is quite tragic / pathetic and mirrors the scene being shown. The different angles and lights used when filming the girl make it look like a model shoot.
Prostitute - about beauty and image. The car in the next scene is a reference to Hollywood. Always being next to Hollywood but never really being involved in it - being thrown into a car by gangsters is straight out of a Hollywood film.
A queue is shown outside a cinema, which is a reference to film-making because the cinemas would often refuse to play Goddard's films. The characters deliberately drive past the Arc de Triomph - Paris. This is a reference to the social values of France / French government at the time. Restaurant de studios - found or put in as a prop / is a reference to Hollywood studios.
'Haydes and Sons' - as she is driving to a horrible end is quite ironic. We would only understand the film because it is subtitled. In the last scene - Hollywood reference - sharp end / death. She falls down - 'fin' - music carries on. Her thoughts come up as French subtitles along with English subtitles. There is a romantic soundtrack / lots of emotion / beautiful female protagonist. The 12 scenes are interrupted by titles and are not connective.
The story he is reading to the woman is about a painter becoming obsessed with his own work and forgetting about the woman. This is mirrored by the added English subtitles running over her mouth as he is reading to her.
bracht play / breaking the fourth wall.
Suddenly the plot is interrupted by someone coming to the front and speaking or singing. It is a montage / contradiction / fragmented. It is as if the characters already know what is going to happen. The plot is predicted by the man reading Edgar Allen Poe. The way the woman is moving is like the way a model would pose for a painter (the same as the book he is reading to her).
ILLUSTRATION BA
We have been working on a project based on 'Moby Dick'. We were asked to create a series of images to represent / work alongside the text. I decided to use paint and graphite to create 4 pieces of work depicting the atmosphere / density of the book, and also to show how hard it is to read / the actual weight of the literature. I did a lot of preparation / drawing the characters / whale. I did not want to include text in the images because i wanted them to look like old plates of images in a book.
