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Baldessari, John

JOHN BALDESSARI Not Even So, 1989

Regular price $350
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Not Even So is an original exhibition poster created by John Baldessari for his 1989 exhibition at Ivam Centre Julio González. The poster features a striking split image—on one side, pelicans in flight, and on the other, a woman deep in thought with her finger on her chin. This juxtaposition of seemingly unrelated images is a hallmark of Baldessari's conceptual art style, where he often explores themes of perception, interpretation, and the relationship between text and image.

The split imagery in Not Even So invites viewers to draw connections between the natural world and human introspection. The pelicans, symbols of freedom and flight, contrast with the woman's contemplative pose, perhaps suggesting a tension between instinct and thought or nature and human emotion. Baldessari often challenged traditional narratives in art, using disjointed images to provoke reflection on how we assign meaning.

Details

Sku: YY2347

Artist: John Baldessari

Title: Not Even So

Year: 1989

Signed: No

Medium: Offset Lithograph

Edition Size: Unknown

Framed: No

Frame Suggestion: Inquire with our experts for framing suggestions.

Condition: A-: Near Mint, very light signs of handling

Supplemental Condition Information: Some dents and small creasing in border

Dimensions

Paper Size: 19 x 26.75 inches ( 48 x 68 cm )

Image Size: 11 x 23 inches ( 28 x 58 cm )

JOHN BALDESSARI Not Even So, 1989

$350

About the Artist

John Baldessari

John Baldessari (1931-) is an American conceptual artist most known for his work featuring found photography. He has worked in painting, printmaking, film, video, installation, sculpture and photography, namely with an infused quality of a concept which drives the work, as opposed to a focus on the medium or the process. He makes use of the narrative potential of images and the associative power of language, and is the creator of the graphic sensation involving colored dots on top of faces in found photographs. His point of view is often characterized by visual critiques of formalist assessments of art and of common opinions that attack, denounce or pigeonhole art.
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