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Seminal works illustrate the provocative—and often humorous—commentaries that have connected these two artists since the 1960s and '70s, challenging our ways of understanding visual culture, media and communication.","Interwoven Narratives: Baldessari and Sherman Reimagine the Image","body","

Detail from John Baldessari Airplanes / Parachutes, 1988

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In an interview with art critic Calvin Tomkins, John Baldessari recalled an instance in the early 1990s when Barbara Kruger and Cindy Sherman came up to him with unsuppressed excitement. "You know, we couldn't have done it without you," acknowledged Sherman. Though Baldessari's work took a few years to garner widespread recognition among the general public, peers and contemporaries never doubted the artist's forward-looking methods, nor did they fail to perceive him as a towering figure in contemporary art.

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Today widely considered a pioneer of conceptual art, Baldessari has continuously created, since the 1960s, works that have stretched the parameters of aesthetics. In the words of Hans Ulrich Obrist, "his influence on the trajectory of contemporary art is immeasurable." Cindy Sherman, one of the most influential contemporary artists to have drawn inspiration from him, then became a standard-bearer of the Pictures Generation—her work continuously subverting the stereotypes of women in media through self-portraiture.

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This fall in London and New York, Phillips has exhibited four important works from seminal series by Baldessari and Sherman. The pieces by Baldessari stand out as examples of his most iconic unique photo collages in the same way that Sherman's Untitled Film Still #53 and Untitled #447 captured the quintessence of the artist's pivotal Film Stills and Clown series, respectively.

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I am interested in what gets us to stop and look, as opposed to simply consuming images passively.
\n— John Baldessari
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John Baldessari Airplanes / Parachutes, 1988. This work will be offered in our New York 20th Century & Contemporary Art Day Sale Afternoon Session on Wednesday 14 November.

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Understanding the complex power of mass media and cinema on society, Baldessari's savvy knowledge of pop culture and mainstream iconography is paired up with Semiotics theory and Structuralism, repurposing visual signifiers and providing a deep commentary on how we can further understand the complex world around us. While Baldessari explores the gap between words and images, Sherman vulnerably becomes the main character of her own work, alternating between hero and anti-hero figures. In the Film Still series developed in the 1970s and the Clown series in the early 2000s, Sherman famously adopts multiple roles as director, author, set designer, make-up artist, casting director, costume designer and actress—a veritable one-woman show.

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Not without humor, Baldessari and Sherman offer profound commentary—if not existential debate—on their surroundings through restless visual plots. Their imagery arouses a certain je ne sais quoi of uneasiness in their viewer, who can hardly remain a passive observer, thus activating Baldessari's resounding words, "I am interested in what gets us to stop and look, as opposed to simply consuming images passively." Cinema, as such, is a major presence and inspiration in both of the artists' work. While Baldessari conjugates Hollywood iconography with Nouvelle Vague inputs and other literary references, Sherman draws inspiration from independent European filmmakers. Borrowing from the visual style and aesthetic Universe of Italian Neorealism—particularly Antonioni’s heroines—Sherman transforms her photographic lens into a cinematographic one.

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The tension between narratives is a key theme in Baldessari's Airplanes / Parachutes and Upward Fall. Replete with polysemic iconography and visual oxymorons, both works exude fateful interrogations. The very title of Upward Fall implies a summit and a base—two opposite directions—and thus encourages the viewer to ponder upon a "Quo Vadis" — where are you going? Equally, Airplanes / Parachutes' vertically stacked planes are built up within and against the parachutes below, as though coming in and out of their bisected frame. The sky provides the composition with a sense of cohesion, yet probes the question: Are both events occurring in the same space-time continuum? Is this a ceremonial military display or an actual attack? The dynamic V-formation of airplanes elusively coupled with static cascading parachutes urges the viewer to fabricate their own plot.

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John Baldessari Upward Fall, 1986. This work sold in London for £441,000.

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Upward Fall evokes a secular altarpiece, presenting itself in the manner of the Sienese or Florentine compositions of the Quattrocento. A dislocated narrative unfolds as our eyes move from panel to panel. Two cowboys flank the base of the composition. Spaghetti Western thus appropriates centuries of European iconography, as the two grounded figures recall aristocratic patrons and their dogs, commonly depicted at the base of religious altarpieces. They stand guard on horseback, symmetrically reflected, in mirror-like composition. In contrast to the anchoring cowboys, horses and dogs, three figures free fall through air and space at the top of the altarpiece, reminiscent of both Yves Klein's Leap into the Void, 1960 and the Christ's Ascension.

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An ascetic sense of vertigo contrasts with the down-to-earth ranchers in an almost humorous collision in Upward Fall. To the right of the composition is a wooden ladder, a further reference to the possibility of heavenly ascension...or is it a descent into hell, as the word 'fall' implies? Baldessari highlights this dualism of meaning, stating, "I am interested in when two images abut each other. It's like when two words collide and some new word in some new meaning comes out of it."

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By intentionally cropping out context, Baldessari probes the viewer to dig deeper into his or her own subconscious to construct new storylines. A master in the art of "visual frustration," Baldessari was a powerful inspiration for Sherman, whose Untitled Film Still #53 can only be seized as a fragment. The Californian artist claims, "If I make a picture a guessing game, I might capture your attention for a little longer." Sherman applies this economy of both feelings and context in her own work. Traditionally, film stills are used as a tool for promotion: "the still must tease with the promise of a story [that] the viewer of it itches to be told." By contrast, Sherman consciously refrains to feature strong emotions in her pictures. "In a lot of movie photos, the actors look cute, impish, alluring, distraught, frightened, tough, etc., but what I was interested in was when they were almost expressionless," she declares. In line with this, Sherman carefully selects the close-ups, rare in the series, zooming into specific but enigmatic expressions. Untitled Film Still #53 immerses the viewer into her intimate cinematic realm. The action just happened or is about to happen, thus transforming the spectator into a witness or an accomplice, invited to reconstruct the meaning of the scene—or is it a crime scene? There is as much left outside the frame, if not more, as there is inside it.

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Cindy Sherman Untitled Film Still #53, 1980. This work sold in London for £249,000.

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The composition of Untitled Film Still #53 specifically recalls, among other sources, Hitchcock's archetypal film structure. As observed by Sherman, the fate of female characters in early Hollywood films is often tragic: "Rebellious characters are either killed off in the script or see the light and become tamed, joining a nunnery or something…Usually, they die. I think I must have been unconsciously drawn to those types of characters." Untitled Film Still #53 would fit into today's cinematographic sub-genre of psychological thrillers. As with all the impersonated women in the series, the protagonist in this photograph is "on [her] way to wherever the action is (or to [her] doom)… or [has] just come from a confrontation (or a tryst)."

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...the clown version of Sherman in 'Untitled #447' enacts an accomplished subversion of the male gaze.
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Cindy Sherman Untitled #447, 2005. This work sold in London for £175,000.

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Untitled #447, created more than twenty years after Untitled Film Still #53, also tackles issues of identity, gender and desire. While Untitled Film Still #53 pictures a solemn and distant Sherman, evasively looking down, self-absorbed in her own thoughts, Untitled #447 addresses a mischievous gaze at the viewer, urging him or her to look back directly into her eyes, asking to see beyond the overstated layers of make-up covering her face. Overexaggerating the gestures of a sexy pin-up, the cliché of desire is again mocked by the clown dress and the hyperbolic representations of female sex symbols. Both breasts and pubis bone are caricatured. While the film still portrayed Sherman as a female lead from a 1950s movie, cynically conforming to the stereotype of a passive woman whose existence matters solely as an object of desire, the clown version of herself enacts an accomplished subversion of the male gaze.

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Cindy Sherman'colorful Clown series is a cogent progression of the artist's interest in disguise, which started in the early 1970s. The clowns represent a universe of their own, exuding a sense of authority and self-sufficiency, yet alluding to nonsense and absurdity. At once sad and hysterically happy, clowns are able to accurately express confusion and tragedy as living embodiments of ambivalence. Commenced in 2003, and stemming from a struggle to "figure out what [Sherman] wanted to say" in the aftermath of 9/11, clowns represented a solution to turmoil and mixed feelings. Ambivalent meaning—emotions that seem to collide and take opposite directions while coexisting—as they did in Baldessari's Upward Fall, became relevant again for Sherman that year. These torn feelings had never ceased to be a key artistic exploration for her, but the clowns seemed to represent their most radical incarnation.

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John Baldessari and Cindy Sherman's respective bodies of work, subverting the rules of the photographic medium over time, are inextricably tied in the wider narrative of art history. Both leading voices navigating an increasingly image-saturated society, they continue to challenge prevailing assumptions about visual culture, media and communication today.

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Stefan Sagmeister with Nick Cave's Soundsuit, 2006, now on view at Phillips New York

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"Beauty as the height of aesthetic achievement has fallen out of favor. In the design world today, most respected practitioners claim not to be interested in it. Artists avoid it so as not to have their work labeled decorative or commercial. One can leaf through stacks of architecture books without seeing the term mentioned. At one time a universal aspiration, the pursuit of beauty came to a crash landing at the beginning of the twentieth century...We believe this rejection of beauty is utterly stupid.

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"Beauty has played a significant role over the course of history. Even before we were Homo sapiens, we were already making decisions inspired by aesthetic considerations. Since then, beauty has been embraced by human culture—from Sumeria and Assyria to Greece and the Roman Empire and all the way to the end of the nineteenth century. It was only during the twentieth century that beauty was pushed to the side in favor of functionality. "
\n— Excerpt adapted from Sagmeister & Walsh: Beauty

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Sagmeister & Walsh: Beauty (Phaidon, November 2018)

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In Sagmeister & Walsh: Beauty, Sagmeister and design partner Jessica Walsh use historical research on the philosophy of beauty to discredit its rejection. They consulted with scientific advisers from the world of empirical aesthetics and conducted surveys to establish what people find beautiful. With this information, they prove that there is nothing superficial about beauty—far from it. Beauty means reaching beyond what just works or what is simply pretty. Beauty is the dose of humanity that makes our lives better. Beautiful works are not only more joyful but they also function much, much better. While it eludes an easy definition, people know beauty when they see it.

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We believe this rejection of beauty to be utterly stupid.
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In between stops on a worldwide book tour, Stefan Sagmeister visited our New York galleries and applied the tenets from Beauty to the works of art in our upcoming 20th Century & Contemporary Art Evening and Day Sales. Discover his top twelve favorites here, and head to Phaidon to purchase the book.

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1. David Hockney Portrait of Paul Jenkins, 1963. "The wall of drawings at his recent show at the Met in New York touched me deeply with its pure display of light-hearted beauty and deep craftsmanship. This Paul Jenkins portrait would fit right up there."

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2. Donald Judd Untitled, 1970. "'Design needs to work; art does not' might be my favorite Judd quote. This untitled piece does not need to do anything, it just is. And it is gorgeous."

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3. Carmen Herrera Blanco y Verde, 1966. "I discovered Herrera's work rather late in my life, which might be one of the reasons I am now so readily won over by her stunning compositions."

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4. Agnes Martin Untitled, 1965. "So subtle and lovely, technical but sweet, I'd love to have it on my wall."

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5. Sol LeWitt Untitled, 1960s-1970s. "I have been a fan ever since I saw my first Sol LeWitt show about 20 years ago and have been utterly convinced when I later discovered the 120+ wall paintings displayed at MASS MoCA in North Adams, Massachusetts. This would make a terrific reminder/souvenir."

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6. Gerhard Richter Ohne Titel (2.1.89), 1989. "His sublime mix of abstraction and realism always gets me."

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7. Josef Albers Study for Homage to the Square: Awakening, 1963. "All I could ever afford of this series was a print, maybe I can slowly work myself up to a study..."

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8. Andy Warhol Brillo Soap Pads Box (Pasadena Type), 1969. "Warhol originally exhibited all sorts of branded boxes, Kelloggs Cornflakes, Heinz Ketchup and others, but only the Brillo box became an icon of pop-art. This is likely connected to the fact that the original Brillo box was designed by James Harvey, an abstract expressionist painter who created commercial work on the weekends."

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9. Nick Cave Soundsuit, 2006. "These suits are full of references, and I find them all beautiful."

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10. Sol LeWitt Wall Drawing #408, 1983. "His plan on how these drawings can be drawn on various walls and will always appear new is beautiful, all by itself."

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11. Hiroshi Sugimoto Lake Superior, Cascade River, 2003. "This piece is part of one of the most sublime series of photography ever created. Simply gorgeous."

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12. Barry McGee Untitled, 2013. "I can offer no explanation. I am drawn to it and I would love to be near it."

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\n","2018-11-06T20:42:18.000000Z","https://www.phillips.com/article/38220711/stefan-sagmeisters-picks",471,38220711,{"_3182":3211,"_3184":3212,"_3185":3213,"_3154":3214,"_3188":3215,"_3190":3216,"_3192":1577,"_3193":470,"_3194":3217,"_462":385,"_3196":3218,"_3198":3219,"_3199":3220},"https://flockler.com/thumbs/sites/889/2018_fa_ny_tca_install-0532-2-dcaf20a6-78ce-4c76-b9f1-846ad1d1ba3e_s600x0.jpg","Latin America","Our Head of Latin American Art, shares modern and contemporary highlights from this month's sales, from Diego Rivera to Ana Mendieta","Kaeli Deane's Six Picks from 20th Century & Contemporary Art","

Now on view at 450 Park Avenue, Tunga Revolution, 2007, highlights our exhibition of 20th Century & Contemporary Art

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This season's 20th Century & Contemporary Art sales are anchored by significant works of Latin American art—for example, Carmen Herrera's Blanco y Verde, 1966 from our New York Evening Sale spent over four decades in the artist's personal collection, while Wifredo Lam's Sur les traces, 1945 from our Hong Kong Evening Sale showcases the artist's dynamic Afro-Chinese-Cuban heritage. Here, Phillips' Kaeli Deane presents a group of highlights from our New York Morning and Afternoon sessions on Wednesday 14 November.

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Doris Salcedo Untitled, 1995. Wood, cement, iron, glass and lace.

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This sculpture comes from Colombian-born Doris Salcedo's best-known body of work and was first exhibited in the Carnegie International 1995, alongside artists like Robert Gober, Cindy Sherman and Franz West. It is an iconic example from the untitled series, featuring a found wooden cabinet filled with cement and iron bars. The sculpture functions as a memorial to those who lost their lives during Colombia's Civil War as well as a reminder of the weighty burden of grief felt by their loved ones. These worn, domestic objects thus become charged with emotional significance and take on a reverential quality. Salcedo's deeply personal approach to universal issues, combined with her poetic use of materials, has solidified her position at the forefront of contemporary art.

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Tunga Revolution, 2007. Brass, aluminum, braided iron wires covered with nylon, fabric lampshade, wiring and light bulb.

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Brazilian artist Tunga drew upon Surrealism as a primary influence, yet his work also has a spiritual nature. Like an alchemist, he combined simple objects to create sculptural installations that transform the energy in the space around them, thereby captivating viewers. This work, from a series he created in 2007, is an otherworldly embodiment of a quotidian experience: the hypnosis of an insect captivated by light. Made from a tall, standing lamp entwined with colossal metal wings, chains and pins, this sculpture is disconcerting yet magnetizing in its appeal. Like a fated moth, the viewer is drawn in by curiosity and compelled by the complex beauty of the work. Strange and extraordinary, this work is emblematic of the artist's oeuvre.

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Ana Mendieta Untitled: Silueta Series, Iowa, 1979. Lifetime color photograph.

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This work is a rare, unique lifetime print by Cuban-born artist Ana Mendieta that epitomizes her early preoccupation with nature and the female body. Mendieta was sent to an orphanage in Iowa as a Cuban exile at the tender age of 12. This deeply affected her artistic practice and led to a series of staged photographs in which she left traces of her body in the earth, in hopes of facilitating a personal connection with a foreign land. In this particular work, the artist utilized flowers to create her own form, thereby physically rooting herself to the earth and stimulating new growth. Mendieta, whose life was tragically cut short, left a sizable impact on contemporary performance art, and works from this series are increasingly difficult to find.

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Diego Rivera Don Lupito, 1936. Oil on masonite.

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This vibrant portrait by famed Mexican muralist Diego Rivera has been out of view from the public eye since 1983, when it was acquired by a private collector, who has cherished it ever since. Dedicated to renowned American filmmaker King Wallis Vidor (1894-1982), Don Lupito demonstrates Rivera's deep ties with the United States in the 1930s, where he executed a number of public murals and was the subject of MoMA's second monographic exhibition from 1931-1932, the first being Henri Matisse. During this time, American collectors were eager to acquire Rivera's work, which led to friendships with many of the most important names in the entertainment industry. This delighted Rivera, as for him, cinema was the highest expression of modernity. This charming portrait is an iconic example of his classic depictions of Mexico's youth, depicting a small boy in a straw hat and working class coveralls. It embodies Rivera's adept ability to toe the line between commissioned artist for the captitalist elite and radical champion of Mexico's common man.

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León Ferrari Esfera (Sphere), 2006. Stainless steel.

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Like fellow Argentina-born artist Lucio Fontana, León Ferrari spent formative years in Italy studying ceramics. In fact, Fontana recognized his younger compatriot's talent early on by inviting Ferrari to take part in the 1954 X Triennale di Milano. Ultimately Ferrari would return to Argentina where he continued his investigations in three dimensions, eventually graduating from ceramics and wood to delicate wire sculptures that investigate a line's physical expression in space. Even early in his career, Ferrari was interested in hanging sculptures, meant to float and move in space. Esfera is one such example that relates both to Calder's mobiles as well as Gego's Dibujos sin papel (Drawings without Paper). The work appears to express a desire to escape gravity, seemingly nodding to space travel, but it also has a linguistic dimension. The wire weaves together like calligraphy yet the final work is illegible, thereby relating to Ferrari's experience living in Argentina under dictatorship—a time when one's beliefs could not be freely expressed. This work is an epic example of the artist's mature work that is deeply rooted in art history and technological advancement.

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Jesús Rafael Soto Rectangles et Carres, 1969. Acrylic on wood and metal.

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A testament to Jesús Rafael Soto's artistic achievements, this piece is particularly important because of its provenance. Originally sold by Denise René, a pioneer of kinetic and op art in Paris, this work ultimately returned to Venezuela where it became part of the collection of fellow artist Francisco Narvaez. Narvaez recognized the ground-breaking developments of the younger Soto, who although he took a different approach was also preoccupied with developing a new artistic language for the modern time. A masterpiece of color and geometric simplicity, Rectangles et Carres engages with the viewer's perception, affecting visual vibrations as one moves around it in space.

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Discover more Latin American art >

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355

Terry Winters

Model System

Full-Cataloguing

Terry Winters