INDEPENDENT CURATORS INTERNATIONAL
collaborators

John Baldessari

John Baldessari is a key influential figure from the generation of artists who emerged in the mid 60s. Through his early experiments with phototext canvases, his conceptually-rich video art work of the early 70s, and his distinctive photo collages and installations of the 80s, Baldessari helped define and shape the landscape of contemporary art.

Initially trained as a painter, Baldessari’s practice evolved through fusing the narrative potency of imagery with the conceptual charge of text and language. The combination of these elements served to rework the boundaries of art while creating a corpus of work that incisively interrogates the nature of communication.

Baldessari has been featured in over 200 solo exhibitions and in over 100 group exhibitions throughout North America and Europe. He has received prestigious accolades including the Americans for the Arts Lifetime Achievement Award and the Golden Lion for Lifetime Achievement, awarded by La Biennale di Venezia in 2009. He is also a member of the American Academy of Arts and Sciences, and American Academy of Arts and Letters.

involved in:

do it

do it is the longest-running and most far-reaching exhibition to ever happen, giving new meaning to the concept of the "Exhibition in Progress." do it takes written instructions by artists as a point of departure, which can be interpreted anew each time they are enacted.

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State of Mind: New California Art Circa 1970

State of Mind is a deep investigation of seminal conceptual and related avant-garde activities in the late 1960s and early 1970s and the critical interchange between artists living in California.

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100 Artists See God

With a mixture of irreverence and sincerity, artists John Baldessari and Meg Cranston tackle nothing less than the question of God in this exhibition.

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Acceptable Entertainment

Acceptable Entertainment presents a selection of photographs by twenty-six contemporary artists who are involved with both the imagery and institution of television. Ranging from the poetic to the political, their photographs repackage the fragments of broadcast images brought daily into our living rooms.

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Do It

do it stems from an open exhibition model, an exhibition in progress.

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Critiques of Pure Abstraction

Critiques of Pure Abstraction presents the work of 20 artists who practice various forms of pure abstraction.

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Contemporary Illustrated Books: Word and Image, 1976-1988

The arts of the book offer an infinite variety of delights to the eye and intellect. This exhibition provides a rare opportunity to see ‘great’ books, illustrated by modern masters, removed from locked museum, library, and collector’s cabinets, and presented in the expansive manner they deserve. Often lavish and iconoclastic, these volumes invite an intimacy with each artist that cannot be acquired from a unique painting, drawing, or sculpture. These books will never become merely decorative, like art objects that hang on walls. They must be experienced at close range; their substance must be studied over a period of time to be understood.

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Verbally Charged Images

Verbally Charged Images demonstrates how text can be used to alter one’s perception or preconceptions of the visual image by providing a subjective framework, thus reversing the traditional image-text relationship in which the image illustrates the text. Although the mode of rhetoric varies from work to work, as does the location of the text in relation to image, text in these works “charges” the image as the title suggests, pointing to the artist’s conceptual intentions. The text, it must be emphasized, never simply describes, illustrates, or functions congruently with the image.

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Artists’ Books U.S.A.

Artists’ Books U.S.A. is an attempt to illustrate the emergence of the book as a provocative, sympathetic, and widely practiced medium among contemporary artists in the United States.

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VIDEOART U.S.A.

VIDEOART U.S.A. was born out of a grand-scale erudite and historical study of international contemporary video art. In the present decade it has become increasingly clear that video art extends beyond a new technology designed to please the human eye. It is rather used as a tool to explore the most pressing issues in contemporary art.

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