Thursday, July 22 from 5:00 – 8:30 PM at The Pacific Design Center to see art at it’s best.

Here are the details:

8687 Melrose Avenue Blue Building, Second Floor West Hollywood, CA

Helen Varola, Curator/Director mycurator@earthlink.net

Complimentary parking for press by calling PDC at 310 360 6404.

Another Year in LA

B267

Tel: 323-223-4000

info@anotheryearinla.com

www.anotheryearinla.com

Monday – Friday

12:00 – 5:00 PM & By Appointment

NEW

July 22- September 10

Reception: July 22, 5-8:30 PM

For its Inaugural exhibition at the Pacific Design Center, ANOTHER YEAR IN LA has assembled a group exhibition entitled, NEW, comprised of five artists who have had solo shows a the gallery’s original location.

These five artists– Joe Amrhein, Linda Day, Richard Haley, Stephen Kaltenbach and Jacob Melchi exemplify the range of the curatorial vision that has helped make ANOTHER YEAR IN LA a mainstay in Los Angeles. The media employed by these artists are traditional ones- painting, sculpture and photography but their use of these materials is far from conventional. The unifying theme in NEW is one of intellectual vision.

Art Gate Frank Navarro/Yann Perreau

B231

Opens in November

frank@art-gate.org

www.art-gate.org

Tuesday – Friday

11:00 AM – 5:00 PM & By Appointment

310.652.6838

Alex Israel

B256

Opens in November

Beginning this November at the Pacific Design Center, LA-based artist Alex Israel will begin production on a to-be-titled serial video artwork. The work will take the form of a talk show, with Israel interviewing guests who have helped shape and define the Los Angeles landscape. New episodes will be released online, where an archive of past episodes will also be stored. Israel’s PDC space will house the show’s set and serve as both the show’s studio and administrative headquarters.

Carl Berg Projects Federico D’Orazio

B266

323-533-1332

carl@carlbergprojects.com

www.carlbergprojects.com

Monday – Friday 11:00 AM – 5:00 PM & By Appointment

July 22- August 20

Reception: July 22

5-8:30 PM

Carl Berg Projects will present new work by Italian artist Federico D’Orazio in his first major show in Los Angeles in 10 years. D’Orazio will feature large-scale inflatable paintings based on imagery from the Italian Renaissance paintings. These humoristic works portrays D’Orazio’s continued confrontation with art world practice. Known for his investigation of the fringes of culture including the sex industry in Thailand and Holland, car culture, and the penal system to name a few, D’Orazio’s new works present an investigation into the clashing of the high and low in art.

den contemporary Not in My Backyard

B275

Tel: 323-422-6340

info@dencontemporaryart.com

www.dencontemporaryart.com

11:00 AM – 5:00 PM & By Appointment

Reception: July 22, 5-8:30 PM

Artists featured: Sophia Allison, Bernadette DiPietro, Christine Gray,Hacer, Linda King, Christine Morla, and Ruby Osorio.

Not in My Backyard encompasses work that touches on the psychological/ sociological ideas of territory and personal space,specifically related to the domain known as the “backyard.”

The exhibition includes a variety of mediums such as Sophia Allison’s machine and hand-sewn thread “drawings” of country homes and lush lawns; Bernadette DiPietro’s photographs of laundry lines as “flags of a nation” hung in yards located around the world; Hacer’s 5-foot steel sculpture depicting an origami- inspired version of the family pet; abstract paintings with botanical references in both Linda King’s large, acrylic canvases and in Christine Morla’s panels including hundreds of woven and layered strips of food packaging paper arranged in sunburst compositions; Ruby Osorio’s gouache, gold leaf and embroidered collage drawings of fantastical narratives in the context of pastoral scenery; and Christine Gray’s dramatic paintings of an imaginary backyard environment with mysterious natural and manmade objects.

den contemporary

Nathan Huff

Amanda Sefton Hogg

B261

July 22 – August 27

Reception: July 22 from 5:00-8:30 PM

Monday – Friday 11:00 AM – 5:00 PM & By Appointment

323.422.6340

info@dencontemporaryart.com

www.dencontemporaryart.com

den contemporary art will feature two solo exhibitions by Los Angeles-based artists Amanda Sefton Hogg and Nathan Huff.  Scottish-born Amanda Sefton Hogg continues the series ‘Remaining Light’ in her abstract paintings and watercolors, which began with her first United States exhibition at den contemporary art in 2006, in which the artist explored light illuminating through elaborate chandeliers. In the recent paintings, Sefton Hogg’s work has evolved to depicting passages of light reflected in intricate seascape compositions. Nathan Huff’s wood sculpture and gouache drawings explore the gravitational movement of objects and animals being launched and suspended, as well as in falling and clinging motions. Huff combines in his work, humor with uneasiness as well as the familiar with the surreal. He captures a mid-motion moment filled with suspense.

Space B261

den contemporary

Experimental Sound Art Performance By Anna Homler and Michael Intriere

Perfomance July 22 at 7:00 PM

Monday – Friday 11:00 AM – 5:00 PM & By Appointment

323.422.6340

info@dencontemporaryart.com

www.dencontemporaryart.com

During the July 22nd art receptions in gallery space B261, den contemporary art will host a Special Performance by the duo Anna Homler and Michael Intriere – two forces in the Los Angeles experimental art and sound performance practices. Encompassing music, spoken word, and installation, intermedia artist Anna Homler will be accompanied by Michael Intriere exploring non-traditional sonic capabilities on the violoncello.

ANNA HOMLER

During a career spanning over twenty-five years, Los Angeles-based Anna Homler has collaborated in America with composers/musicians Steve Moshier, Davis Moss, Ethan James and Jorge Martin, and in Europe with the Voices of Kwahn, Steve Beresford, Peter Kowald, Richard Sanderson, Geert Waegeman, and Sylvia Hallett. Homler has performed at well-known venues throughout the United States and Europe, including appearances at P.S. 122, the Kitchen, Dixon Place, and the Poetry Project at St. Mark’s Church in New York; Supraclub in Prague; Klarinsky in Bratislava, Slovakia; Ketty Do in Bologna, Italy; the Stadgarten and the Loft in Koln, Germany; and the Melkweg and Stedelijk Museum in Amsterdam. She has participated in numerous international festivals in Canada, Italy, Belgium, Austria, Holland, Germany, France, and England.

MICHAEL INTRIERE

As one of the founding members of the now-defunct underground chamber group Fat & F…ed-Up, cellist Michael Intriere has been stalwart of the Los Angeles experimental music scene for over three decades. He has collaborated with many of L.A.’s foremost improvisers as well as participated in such unique musical configurations as the Salt Ensemble, the Miya Massoka Orchestra, the Emily Hay Collective and Zebra*Logic. As an experimental video artist, Intriere’s work has been shown both nationally and internationally including screenings at Lincoln Center in New York, Museum of Contemporary Art (MOCA) in Los Angeles, the Rotterdam Film Festival, and various venues in Japan.

JOHNHOUSHMAND DESIGN

hous projects

The Naked Truth

Curator: Ruben Natal San Miguel

B222

Tel: 310-294-8577

daniel@housprojects.com

www.johnhoushmand.com

www.housprojects.com

Monday – Friday

9:00 AM – 5:00 PM

310.294.8577

July 22 – September 17

Reception: July 22, 5-8:30 PM

To be naked is defined as being bare without overlying matter, vegetation, foliage, hair, feathers or shell.  It also encompasses the sentiment of being defenseless, unprotected and exposed.  Or it can simply be an adjective to describe a plain, simple and unadorned condition, such as the truth.  Often in the truth, we bare ourselves and reveal the state or character of a situation or our individual self.  We place a belief that it is a verifiable and indisputable fact, proposition or principle and even assume there are obvious, accepted truisms and platitudes that exist.

KNOW ART/LA Sarah Jane Bruce and Anat Ebgi

Tour: September 23

www.knowartla.com

323 656-2858

Visit website for updated tour information and to reserve a tour.

Join Know Art/LA for a guided tour of Design Loves Art at the Pacific Design Center. Know Art will visit a cross section of galleries, art installations, and curated exhibitions while exploring the intersection between art and design – their similarities, differences, and symbiosis.

Know Art/LA is a collaboration between Sarah Jane Bruce (SJB Fine Art Services) and Anat Ebgi (The Company) aimed at de-mystifying art world etiquette and the art buying process. The program offers a practical guide to the Los Angeles art scene while providing special access to dealers, curators, and artists in a relaxed and casual setting. Sarah Jane holds an MA in Art History from Columbia University and Anat holds an MA from the Center for Curatorial Studies, Bard.

Mastodon Mesa Touching Show

Curators: Graham Kolbeins & Mya Stark

B257

July 22 – September 1

Reception: July 22 5:00 – 8:30 PM

Monday – Friday 11:00 AM – 5:00 PM

310.463.5296

myastark@gmail.com

mastodonmesa.com

In Touch Show, artists create or exhibit works in a variety of media including performance, in which touch as a social or communication phenomenon, rather than a tactile one, is highlighted. Participatory works will be opt-in and non confrontational; the show will be strictly moderated to facilitate positive, comforting experiences with touch rather than evoke discomfort or provoke conflict in any way.

New Atlantis Enterprises

B215

Reception: July 22

5:00 – 8:30 PM

Monday – Friday 11:00 AM – 5:00 PM contact@newatlantisenterprises.com www.newatlantisenterprises.com

Artist Piero Golia embarks on his “relational aesthetics” project in which the iconic PDC itself becomes the subject of exploration. Golia has set up offices for his new “New Atlantis Enterprises” (NAE) in B215 as the hub of his creative vision that promises to redesign the social relationship between artist and audience. Golia’s project is utopian and unlike the other projects at the PDC, NAE doesn’t offer ongoing staged exhibitions. Instead, NAE is a locus for Golia’s interactive framework that intersects with the PDC’s day to day business and social network. 

Patrick Painter Gallery

B275

Opens in September

Tuesday – Friday

11:00 AM – 5:00 PM

310.264.5988

matthew@patrickpainter.com

www.patrickpainter.com

See Line Gallery

Spirit Shack Todd Gray & Kyungmi Shin

B274

July 22 – September 10

Reception: July 22

5:00 – 8:30 PM

Performance by Todd Gray at 7:30 PM

Monday – Friday

11:00 AM – 5:00 PM & By Appointment

917.604.3114

janet@seelinegallery.com

www.seelinegallery.com

Artists and entertainers perform roles in contemporary culture similar to that of mystics and shamans from pre-colonial culture. Todd Gray and Kyungmi Shin will explore this phenomenon in “Spirit Shack”, a multimedia performance and installation that includes photography, video, sculpture and sound. Nigerian author Chinua Achebe’s writing on Ibo culture and the daily experiences Gray and Shin encountered in western Ghana where they maintain a studio, inspired the artists to find correlations in the mythologies created around rock stars.

SUPERFRONT

Open House/State Secrets

B208

July 22 – September 3

Reception: July 22

5:00 – 8:30 PM

Monday – Friday

1:00 PM – 5:00 PM

646.351.3501

mitch@superfront.org

www.superfront.org

” – Would anyone like to have a little look down into the secret of how ideals are fabricated on this earth?  Who has enough pluck? . . . Come on!  Here we have a clear glimpse into this dark workshop.” -Nietzsche, On the Genealogy of Morality

OPEN HOUSE | STATE SECRETS is about the dark side of architecture – ‘architecture’ in both the abstract political use of the term and the literal experience of normative buildings. Conceiving of this exhibition as a laboratory, Farrah Karapetian, Mitch McEwen, and architectural collective Bureau E.A.S.T will accumulate work in SUPERFRONT’s space between July 6th and August 22nd. SUPERFRONT’s space at the Pacific Design Center becomes a studio for the exploration of the parameters of photography, sculpture, mapping, and architecture.

Young Projects

Amok Strategies: The 80s Show

Curator: Paul Young

B230

July 22 – August 30

Reception: July 22

5:00 – 8:30 PM

Monday – Friday

11:00 AM – 5:00 PM & By Appointment

323.377.1102

young.paul@yahoo.com

Amok Strategies explores some of visionary art that came out of LA’s early punk/art synthesis of the early 1980s. The exhibit consists or rare video works by the likes of Johanna Went, Bob Flanagan, Survival Research Laboratories and many more.

Much of the work was made in the immediate aftermath of the culture wars of the period, and thus tend to be highly aggressive in form. Yet at the same time, each work—whether it’s Johanna Went’s maximal stage performances or SRL’s robotic machine wars—is ultimately cathartic in its effect. More importantly, it captures some of the very qualities that have since come to define West Coast art practices: namely a penchant for the fantastical, the sardonic, and the psychedelic.

Young Projects

Surface Tension

Curator: Paul Young

B210

July 22 – August 30

Reception: July 22

5:00 – 8:30 PM

Monday – Friday

11:00 AM – 5:00 PM & By Appointment

323.377.1102

young.paul@yahoo.com

Ever since the camera was invented, artists have explored the medium’s essential paradox of two dimensionality versus the illusion of actual space. “Surface Tension” features the work of eight contemporary artists and filmmakers who explore that idea in their work, often to different ends. In some instances, the attempt to define a surface plane produces a highly painterly work that not only denies depth entirely, but makes deliberate art-historical references. In other cases, the idea leads to aesthetic, political and meta-fictional investigations that are as complex as they are serene, haunting and meditative. The artists featured include Gary Hill (Seattle), Ori Gersht (Tel Aviv), Burt Barr (New York), William Lamson (New York), Clemens Krauss (Austria) Juan Bufil (Spain) Christoph Brech (Berlin) and Jeffers Eagan (New York)

In the group show, “From My Universe: Objects of Desire Part II” at See Line Gallery in the Pacific Design Center, Gray has created a mysterious installation featuring among others, photographs of himself covered in shaving cream as a white-faced monster. The photographs have been cut out higgledy piggledy along the contours of his creamy white form creating ghosts that hover in the gray gallery space in juxtaposition to his photographs of Michael Jackson and African ceremonial masks. Gray has sublimated the notion of race here by creating a “gray” context signed for by the painted gray walls.

This review is from www.artlurker.com

PDC Curator Helen Varola arranged a panel discussion on “design art” with Walead Beshty, T. Kelly Mason, Sharon Johnston and Mark Lee.

Highlights included Los Angeles galleries David Kordansky, Kim Light / Light Box, Blum & Poe and Honor Frasier, Peres Projects, and Crisp, as well as New York favorite Gavin Brown’s Enterprise. 1301PE showed Diana Thater’s new work also currently on view at the Santa Monica Museum of Art (see image) along with artists referring to design such as Pae White and Jorge Pardo.

The new sizzling synergy spanning art, architecture and design was clearly palpable as people were buzzing about the PDC’s new transformation as an arts destination, while collectors Charles S. Cohen, Mandy and Cliff Einstein and MOCA curator Paul Schimmel perused the booths and talked with dealers. Visitors were impressed to also discover other floors hosting PDC’s own Design Loves Art art gallery program that included 2010 Whitney Biennial artist Scott Short, Tunga, Katherina Gross, Ball Nogues, and Eamon O’Kane.  The fair, the first for the PDC, was a hit for the showrooms as well and the PDC looks forward to its next contemporary art fair in 2011.

Pictured: Diana Thater, The Magician: Greg Wilson, 2010, C-print, Each 40 1/2 x 27 in.

From January 28-31, Design Loves Art brought the prestigious art fair, Art Los Angeles Contemporary to the PDC. There were a number of events, screenings, tours and happenings going on and I moderated a panel discussion entitled Uncertain Objects: The Confluence of Art, Design and Architecture on Saturday, January 30 at 2:30. We discussed the hybrid activity among artists, designers and architects and joining me on the panel to discuss this confluence were artists Walead Beshty, T. Kelly Mason and architects Sharon Johnston and Mark Lee.

Uncertain Objects refers to the intrinsic difficulty that design has in affirming its autonomy in the field of action in relation to art. We don’t want to get weighed down with design’s historical foundations here but I do want to say there’s been a plethora of “great debates” and exhibitions on this subject especially since design and art practice has grown since the 1990’s. We continue to have these discussions since there still remains a lack of criticality that has left the understanding of contemporary art and design in terms of its conventional polarized position that insists on the separation of art and craft and whether an object is functional or not.

What’s troubling also, is the limitation of the term design art, coined in 2005 by critic Alex Coles, because it refers to anything arty looking from Ron Arad’s “Rover Chair” to Rachel Whiteread’s “Daybed.” It’s a handy new term that’s been left to the market for definition. Here’s one example from an art fair that calls itself “Design Art” in London:

“A good piece of design…whether a building or teapot can be a work of art that just happens to have a purpose. Design and Art can no longer be kept apart. Like a good work of art, a good work of design can surprise, shock or sicken you, make you laugh or cry, but will never leave you indifferent.”

What’s not recognized is the extent to which today’s artists are rethinking their practice and bringing art to new levels of being. Sandy Kwinter has said that design is playing an enchanted role in artistic practice and artists are changing the way people interact with objects and architecture. And a major reversal of roles is occurring: Artists are forsaking objects to create concepts for architecture, spaces, operas and hospitals leaving “object making” to designers. Piero Golia, is establishing an office for Design Loves Art at the PDC, which he calls New Atlantis Enterprises. His project is devoted to the realm of the immaterial, to the design of pragmatic interaction, experience, and relationships. Artistic practice that includes design is entering the realm of daily life more and more. Artists seek to infiltrate life, manipulate it and evoke a social critique and it’s a great time to explore all the hyper multi-disciplinary encounters.

Likewise for the architect, who is re-defined as a designer as architecture expands into “total design,” which is pushing design into the environment. Our culture is moving clearly toward design, which is applied to everything and this confluence is enjoying a spectacular boom, asserting a kind of eminence in the vast melting pot of creation. This is not new. It’s just that the field of investigation and inspiration has never been so vast and dense. We are in a moment in which we are experiencing what Fredrick Kiesler said in the 60’s: The traditional art object be it a painting, a sculpture or a piece of architecture, is no longer seen as an isolated entity but must be considered in the context of the expanding environment.

So is this convergence a genuine revolution? Or is it a meltdown? Is this transcendence of categories an irreversible movement? Or just a moment in history? You can be sure we’ll be continuing this conversation and also exploring the richness of design and art issues at Design Loves Art.

By Helen Varola

http://artforum.com/video/id=21986&mode=large&page_id=8

Pictured: Rirkrit Tiravanija, (The Future Will Be Chrome), 2008, mirror polished stainless steel

LOS ANGELES—Despite its mammoth proportions and glittering facade that reflects sunlight as if made out of water, the Pacific Design Center (a.k.a. the “Blue Whale”) in the middle of Los Angeles has long remained under the radar of Angelino art collectors. All that changed this year with the inaugural production of Art Los Angeles Contemporary (ALAC), a new cutting-edge expo that debuted over the weekend as a 50,000-square-foot melting pot for 55 blue-chip and emerging galleries from Los Angeles and around the globe. Organized by Fair Grounds Associates‘ Tim Fleming, director of the fair and a former director of ART LA and photo Miami, ALAC stood apart from last month’s bigger Los Angeles Art Show as a juried event with a selection committee composed of taste-making L.A galleries 1301 PE, David Kordansky Gallery, Peres Projects, andSusanne Vielmetter.

With the most affordable admission cost of any of the season’s L.A. fairs at $16.00, ALAC attracted 9,000 attendees and collectors from the United States and abroad, as well as celebrities like Anthony Kiedis, Neil Patrick Harris, and Drew Barrymore. Hip galleries ranging from New York’s Lisa Cooley and Gavin Brown’s Enterprise to London’s Museum 52 and Guadalajara’s Charro Negro Galeria occupied booths in a grid enclosed by gloor-to-ceiling glass partitions, giving collectors an appealing sensation of viewing the art through storefront windows.

Attendees strolling the fair could not miss John Miller’s room of fiercely shining sculptures at Patrick Painter, where the imitation gold-leaf coating the works added a chintzy luster to the work’s humble materials of plaster, cloth, and Styrofoam. Michael Briggs, the gallery’s director, said interest in Miller’s work in the booth signaled a “pickup in the higher end as well as the lower end” — appropriately enough for an artist whose work is both valuable and a critique of commercial value. “Obviously it’s not like the boom times again in 2006 or 2007, but it’s pretty steady,” Briggs said. “There are serious collectors and they are still buying serious art.” Over at Honor Fraser’s booth, which was showing work by the rising New York-based artist Robert Lazzarini, gallery director Michelle Pobar agreed. “$10-30,000 is a great price range right now,” he said. “People are really responding to that range of work.”

Closing sales were still being finalized this week and galleries remained tight-lipped about profits, but artists known to have sold at the fair include Miller; Sage Vaughn at Kim Light; Erin Shireff at Lisa Cooley; and Kerry Tribe, Pae White, and John Reynolds at 1301 PE(which sold upwards of $100,000 worth of work, according to Fleming). New York’s I-20 gallery also sold two large “video engines” by artist Peter Sarkisian, each in the $100,000 range. New York-based artist Lisi Raskin also generated buzz with her collaged work inspired by nuclear missile sites at The Company’s booth. According to artist Annie Wharton, who founded the Los Angeles gallery with curator Anat Ebgi in 2008, collectors were drawn to the way Raskin’s art engaged with “the notion of the handmade, taking paper and re-working into very elaborate pieces.”

Director Tim Fleming believes the Pacific Design Center’s proximity to neighboring galleries and the Culver City Art Walk helped make the inaugural fair a success by reinforcing the art’s connection to the urban fabric of the city.

Lisi Raskin, Container. Collaged paper, archival adhesive, graphite, acrylic paint, 28 x 22 in.

Courtesy the Company from Artinfo

Rafael Lozano-Hemmer (born Mexico City 1967) is a rising star who creates interactive installations which translate movement, bodies and voice into sound. Based in Montreal, his work Levels of Nothingness was featured at the Solomon R. Guggenheim Museum in New York in September.

Here’s the scenario: You walk into a room, grab a microphone and speak (saying whatever you want). Then, the fun begins. Lozano-Hemmer’s wild creation collects your vocal pitches, tones and traits and turns everything into specified colors. As the room’s collective language builds up, spotlights swing and shoot different hues and textures in all directions. Words and voices become pure color and emotion.

The piece creatively uses temporary architecture to make art that blurs the usual boundaries we associate with forms such as sound. Not many people walk around everyday thinking about the color of their voice or if a bright red emits a different sound than a dark red.

Notably, Levels of Nothingness corresponded with the museum’s much-touted Vasily Kandinsky retrospective. It’s clear that Kandinsky’s work – particularly his 1912 essay “Yellow Sound” yields a huge influence on Lozano-Hemmer’s art (as he recontextualizes the relationship between sound and vision into a true 21^st century framework). This is a world where both sound and colors are based around computers. The stricter palate that Kandinsky once dissected has exponentially multiplied in size.

Lozano-Hemmer’s use of technology, which includes robotics, projections, sound, sensors, internet and cell-phone links is always derived from or generated by the public.

by Helen Varola

In magic, as with good art or design, the viewer must be willing to take part in an entertaining deception. Most art lovers walk into a gallery with an open mind and abide by a social agreement to absorb the room as it is with the assumption that everything is appearing as it’s meant to be. We don’t think about our own perception. For interior design, we do this by creating unique smoke and mirrors tricks within a space. Interesting decorating and architecture reveals the difference between what “is” and what we simply perceive. Italian interiors from the Renaissance and Baroque capture the essence and power of illusion.

You remember those old movies. Two villains are plotting over a scotch and then: boom! One character flips a normal bookcase and it opens into a secret room. It’s shocking to the viewer because it’s beyond the realm of possibility at that moment. Design can function in the same way; it was a trick door covered by a bookcase that hid Anne Frank in the attic!

Take Teller – the famed silent magician partner of Penn – a man who takes his job seriously to the point that his Las Vegas home is one giant confidence trick, and who by the way has one of those secret bookcases that opens.  A window at the end of his entrance hallway shows a majestic city view until you walk into it and smash your face. It’s actually a mirror. In another area, lights slowly shift into different colors, revealing new objects, angles and spatial relationships in a discombobulating manner. The point: you have to expect an illusion to spot an illusion. Take a tour of Teller’s house by clicking on the following link to see what I mean: http://www.youtube.com/watch?v=SoksoGBtpJ0

By Helen Varola

Art 21 interviewed Baldessari in his Venice, CA studio who elaborated on his use and remix of various mediums such as painting, wordplay and photomontage. Baldessari’s trademark style is that of a deadpan rabble-rouser. His humorous constructions explore systems, yet point out their absurdity, a formula that’s influenced a whole new generation of artists that’s led to relational aesthetics (more on this in future  blogs).

See the painting above. Two people fighting remains a rather serious, violent concept, but it’s reduced to a laughable spectacle because the montage turns one of them orange. Here, non-verbal design is used as a mode of communication.

Baldessari also plays with verbal design: His 1967 text piece “A TWO-DIMENSIONAL SURFACE WITHOUT ANY ARTICULATION IS A DEAD EXPERIENCE” is a statement plucked directly from art criticism and placed on canvas for public ridicule (or yes, maybe appreciation). Elsewhere, Baldessari promises: I Will Not Make Any More Boring Art” (1971).

While the series has already aired, you can still check out this preview video of Baldessari discussing his upbringing and entrance into the art world provided by PBS:

Check out this video of Baldessari discussing his upbringing and entrance into the art world provided by PBS: http://www.youtube.com/watch?v=xWaVCGSXD0k

By Helen Varola