Choosing: Green beans
N° d'objet1975.0245
TitreChoosing: Green beans
Créateur John Baldessari (vervaardiger), Toselli (uitgever)
DescriptionIngebonden boek met een witte omslag. Op de voorzijde van het boek staat:John Baldessari Choosing: Green Beans; Edizioni Toselli Milano
Het boek telt 28 bladzijden en is in het Engels en Italiaans geschreven. Op de tweede rechterbladzijde van het boek staat:
John Baldessari Choosing: Green Beans
Op de volgende 2 rechterbladzijden staat in het Engels en Italiaans: CHOOSING (A Game for Two Players) Green Beans
This work is part of a series of works about choosing. In this version a group of green beans was available from which to choose. A participant was asked to choose any three beans from the group for whatever reasons he/she might have at the moment. The three chosen beans were then placed upon a surface to be photographed. I chose one of the three beans for whatever reasons I might have had at the moment. A photograph was taken of the selection process. The chosen bean was carried over; the two other beans not chosen were discarded; two new beans were added. The next choise was made, and so on. Each of the participants develops strategies unknown to the other player as the selection process continues until all the beans are used. John Baldessari December 1971.
Dan volgen 9 rechterbladzijden waarop steeds 3 sperziebonen en een topje van een vinger zijn afgebeeld. Op de laatste linker pagina staat: Copyright 1972
Edizione Toselli Via Melzo 34 20129 Milano
Collezione Angelo Baldasarre Bari
Design: A. Sganzerla
Fotolito: Parietti
Stampa: Grafiche Marazzi
Tiratura: 1500 copie
Printed in Italy
(Bron: http://www2.let.uu.nl/Solis/lbdelta/kubo/kunstenaars.htm)
"A primary mission for the Conceptual artists of the late 1960s and early 1970s was to debunk the mystification that had attended modernism, especially the rarefied works of late modernist abstraction. Partly following materialist ideas derived from Marxism, many Conceptualists sought to purge their art of the romantic accretions, such as notions of individuality and genius, that underpinned the establishment and the art market.
Much early Conceptualism, therefore, is deliberately literal and anonymous - along the lines of 'What you see is what you get'.
Kynaston McShine's groundbreaking MoMa exhibition of 1970, 'Information', displays these attitudes in its title. Art is no longer held to be transcendent or poetic but factual and informative.
Artists vied with each other to make their work as prosaic as possible, frequently employing the mechanistic, non-gestural anonymity of the camera as a result.
Listing things or placing objects in series were favoured devices and are evident in these classic artist's books by (...) John Baldessari - fine examples of the 'less is more' approach to Conceptualism.
Essentially, readers get out of these books exactly what they put into them (...). Baldessari is even more Minimalist.
In "Choosing: Green Beans" each image is of a line of individual green beans, dispassionately recorded for inspection and comparison.
The book hasn't much to say about beans, or even consumerism in any real sense.
It however has plenty to say about the process of photography, especially as it relates to the loaded act of recording the world for the benefit of the archive and the social deployment of discreet knowledge" (Martin Parr & Gerry Badger, The Photobook: A History. Volume II, pp. 146-7)
Het boek telt 28 bladzijden en is in het Engels en Italiaans geschreven. Op de tweede rechterbladzijde van het boek staat:
John Baldessari Choosing: Green Beans
Op de volgende 2 rechterbladzijden staat in het Engels en Italiaans: CHOOSING (A Game for Two Players) Green Beans
This work is part of a series of works about choosing. In this version a group of green beans was available from which to choose. A participant was asked to choose any three beans from the group for whatever reasons he/she might have at the moment. The three chosen beans were then placed upon a surface to be photographed. I chose one of the three beans for whatever reasons I might have had at the moment. A photograph was taken of the selection process. The chosen bean was carried over; the two other beans not chosen were discarded; two new beans were added. The next choise was made, and so on. Each of the participants develops strategies unknown to the other player as the selection process continues until all the beans are used. John Baldessari December 1971.
Dan volgen 9 rechterbladzijden waarop steeds 3 sperziebonen en een topje van een vinger zijn afgebeeld. Op de laatste linker pagina staat: Copyright 1972
Edizione Toselli Via Melzo 34 20129 Milano
Collezione Angelo Baldasarre Bari
Design: A. Sganzerla
Fotolito: Parietti
Stampa: Grafiche Marazzi
Tiratura: 1500 copie
Printed in Italy
(Bron: http://www2.let.uu.nl/Solis/lbdelta/kubo/kunstenaars.htm)
"A primary mission for the Conceptual artists of the late 1960s and early 1970s was to debunk the mystification that had attended modernism, especially the rarefied works of late modernist abstraction. Partly following materialist ideas derived from Marxism, many Conceptualists sought to purge their art of the romantic accretions, such as notions of individuality and genius, that underpinned the establishment and the art market.
Much early Conceptualism, therefore, is deliberately literal and anonymous - along the lines of 'What you see is what you get'.
Kynaston McShine's groundbreaking MoMa exhibition of 1970, 'Information', displays these attitudes in its title. Art is no longer held to be transcendent or poetic but factual and informative.
Artists vied with each other to make their work as prosaic as possible, frequently employing the mechanistic, non-gestural anonymity of the camera as a result.
Listing things or placing objects in series were favoured devices and are evident in these classic artist's books by (...) John Baldessari - fine examples of the 'less is more' approach to Conceptualism.
Essentially, readers get out of these books exactly what they put into them (...). Baldessari is even more Minimalist.
In "Choosing: Green Beans" each image is of a line of individual green beans, dispassionately recorded for inspection and comparison.
The book hasn't much to say about beans, or even consumerism in any real sense.
It however has plenty to say about the process of photography, especially as it relates to the loaded act of recording the world for the benefit of the archive and the social deployment of discreet knowledge" (Martin Parr & Gerry Badger, The Photobook: A History. Volume II, pp. 146-7)
Date 1972
Période de création20e eeuw
Nom d'objetkunstenaarsboeken
Catégorie d'objetkunstenaarsboeken
Matérieldrukpapier, drukinkt
Techniqueoffsetdrukken
Dimensions
- hoogte: 29.7 cm
breedte: 20.9 cm
pagina-aantal: 26