In Still Life 2001-2010 invites you to create your own still life by arranging any or all of the 38 objects onscreen. “When someone completes their own still life using In Still Life 2001-2010 it becomes their own artwork,” says artist John Baldessari. “It’s not mine. It’s theirs. Still lifes are about the fleeting things in life. Each object has a symbolic meaning attached to it. My interest in still lifes goes back to beginning art courses and having to endlessly paint from them. There was always a room where the instructors stored all the props. And the one prop I hated was the cow skull, which an old instructor of mine, a Georgia O’Keeffe fan, used to always trot out. But of course the typical objects are things like the guitar, the wine bottle, the loaf of bread, which are not so interesting. Even now it’s very hard for me to look at one of those typical Braque or Picasso still lifes and not want to rearrange it! I just want to make it a little more upbeat, a little more dynamic and less static. I chose Banquet Still Life (1667) for the original In Still Life because I […]
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The source of the photographs in Alpine Star is the weekly newspaper from the artist’s hometown in Central Idaho. The poetic element of these images—that unnamed, abstract subtext found in every photograph—is inflated here through the process of subtle manipulation and nuanced sequencing. While offering a world of loss and isolation, the pictures in Alpine Star also suggest the cross-pollination of personal history and collective memory.
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100 “__ is the new __” found phrases taken from google searches, with keywords separated before and after “is the new”. The separated keywords appear randomly in the “is the new” phrasal template, creating new mixed phrases.
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In the spring of 1845, William Henry Fox Talbot made four photographs of the Royal Exchange in London. What appears in these photographs is not only the nineteenth century edifice of a financial institution, but also an early limitation of the technology of photography itself: its inability to capture and clearly represent objects in movement. Beginning with this image of finance and the limitations of photography, In Place of Capital unfolds in the strange place between economic movements and the realm of pictorial representation after the invention of photography.
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Ongoing series of collected photographs from eBay.com depicting televisions for sale. To market the sets, the eBay sellers also used found images. In particular I enjoy the complex interactions of the 2-dimensional screen image, its display device as a 3-dimensional product/subject, a 4th dimensional surrounding environment, your computer browser screen (the 5th dimension), and so on.
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