Baldessari Chapter 5

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S.R.: [...] You are working in a very wide field. You use painting, you use photography, you use different strategies or rhetorics of texts. In advertising you can say it's very simple, you want to sell an object, you want to sell a product. But how would you describe your own aim or goal, this artistic goal?


J.B.: [...] Not my only goal of course, but a lot of the way I do my work has been influenced by teaching, the teaching that I have done. I think there that it doesn't do any good to lecture students about »do this, do this, do that« – if they are not really understanding what you are saying or not accepting what you're saying. I've always said that you really haven't taught until you see the light in the students' eyes – the light bulb goes on – and then you make some communication. [...] I try to do the same thing in art [...], and here is where the paradox is, and this is why I like Matisse and Giotto so much because they look so simple. In other words, for the most visually illiterate person there still might be something there of interest. That's maybe all that they would get, but still there is something. But paradoxically then it should be as profound as you could possibly make it for the most aesthetically cultivated person that really knows a lot about art. You should be able to satisfy almost two conflicting worlds, and that's one of the challenges of any good art.

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