John Baldessari. *Two People (Front View) and Helicopter/ Two People (Side View) with Art (Maquette)*, 1990. Film still photograph, acetate, gouache, and wax pencil. 27.9 Å~ 35.6 cm 11 Å~ 14 inches © John Baldessari 1990. Courtesy Estate of John Baldessari © 2022.

Written by Caroline Johnson

Copyedited by Chloë Rain

Photo Edited by Julia Borges

The Story Underneath, currently on display at Sprüth Magers, is a wonderful insight into an unfamiliar era of the poignant and successful career of photographer and conceptual artist, John Baldessari. His work consists of images collected and manipulated in various ways to create what he referred to as ‘maquettes.’ These often incorporate a mix of mediums and various reused objects including lobby cards, film stills, and found photographs. Through removal, assemblage, taping and eventually painting, his images take on an entirely new meaning than their unaltered original and bring into question the power and narrative told through a photograph.

His Untitled (Maquette) from 1989 shows his early experimentation of image manipulation. His repositioning and rebalancing allow the creation of a cohesive singular image, now holding a new meaning. This image is created through the use of photocopies, graphite and tape on graph paper.

All of these objects are found in one’s everyday life, yet through the eyes of Baldassari, are powerful tools in creating a different scene and a different reality. When these images are reappropriated, they are elevated in status. He used his unique eye and perspective which allowed him to transform these seemingly mundane images into high art.

The balancing bird on the building is entirely disregarding any consistency in scale and rather allows for the abstract concept of the scene itself to evoke thoughts and questions from the viewer.

His conceptual approach to the manipulation of photographs pulls from his success in the conceptual art movement a mere twenty years prior. As his career moved forward, his style evolved into what is seen in Two People (Side View) with Art (Maquette) from 1990 as he began to paint over entire figures. This does not only change the photograph and the scene it is depicting, but once again calls into question the truthfulness of photography and the possible interpretation of the image.

Baldessari spoke of his images saying, “What I’m looking at in a photograph is usually the stuff that’s marginal… It’s the stuff you see out of the corner of your eye, rather than what you’d normally focus on.” This style that he created with the removal of the figures allows that marginal, background imagery, to become more of the forefront as they are no longer overshadowed by the people themselves.

Two People (Front View) and Helicopter from 1990 forces the viewer to be aware of the grass field, the helicopter, the sky, and the surroundings instead of the now ambiguous red figures in the middle of the image. They are shrouded in mystery as their background is brought to the forefront. The stories of these particular figures become insignificant as their surroundings are elevated to the focal point of the photograph.

Another example of this is Untitled (Maquette) from 1994. The scene behind them is crowded and lively, but the two figures in the forefront are stripped of their identity and space in the image. The ambiguity and the unknown identity of these figures allow the viewer to put themselves in the scene. Baldessari is not only experimenting with the potential narrative but inviting the viewer to do the same when interacting with his maquettes.

John Baldessari. *Hope (Blue) Supported by a Bed of Oranges (Life): Amid a Context of Allusions (Maquette), 1991 (detail).* Film still photograph, acetate, sticker, and wax pencil 27.9 Å~ 35.6 cm 11 Å~ 14 inches © John Baldessari 1991. Courtesy Estate of John Baldessari © 2022

His manipulations were not always about erasing the figures, and as seen in Hope (Blue) Supported by a Bed of Oranges (Life): Amid a Context of Allusions (Maquette), (detail) from 1990, shows another experimental style he employed. He did not remove the entire figure, but rather just their face. And this achieves a similar purpose as the story is now applicable to anyone who projects themselves into it as the face. The defining aspect of one’s appearance is removed.

The collection exhibition allows interaction with some of the most defining and yet unknown artwork of John Baldassari. His ability to elevate otherwise dull objects and images allows a reinterpretation of photographs and the stories they tell.

The insight into his way of thinking and viewing the world is a perfect display and homage to his career that ended too soon.

The exhibition is on display through October 29, 2022.