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  • Provenance

    Marian Goodman Gallery, New York

  • Catalogue Essay

    “I think it’s true that if we look side by side at a painting and a photograph, we tend to right away see the painting as somebody’s version of the real world, and with a photograph we tend to suspend disbelief and think it refers in a tangible way to the real world. I think that’s one of the reasons why I use it, because I already have people suspending their disbelief.

    I’m very much attracted to photographs that realtors take of houses for sale, or that insurance adjusters take for accident reports on cars; in other words, where there is no idea to make an artful photograph, just collected information. That attracts me a lot—art as information. I guess after you spend our lifetime thinking about what’s beautiful, you get distrustful. You get into this rarefied atmosphere where you want no beauty and no beauty is beautiful! After a while, you learn all the tricks of how to make things beautiful and you get really suspicious. You look at art like a professional gambler looks at a card table, for all the tricks.” (John Baldessari in interview with Christian Boltanski, “What is Erased”, John Baldessari From Life, Nîmes, 2005, pp. 72-75).

59

The overlap Series: Street Scene and Reclining Person (with shoes)

2000
Color photograph and digital print, digital print mounted on Sintra board with acrylic and felt-tip pen in three parts.
61 x 84 in. (154.9 x 213.4 cm).

Estimate
$150,000 - 200,000 

Sold for $384,000

Contemporary Art Part I

17 May 2007
7pm New York