In 1971, the curator and publisher Willoughby Sharp commissioned twenty-seven artists to create performance works on Pier 18, a decrepit waterfront site in Lower Manhattan. Because the location could not accommodate viewers, the artists’ actions were communicated only through photographs made by Harry Shunk and Janos Kender. Baldessari’s witty performance entailed inserting his hand between himself and the camera lens—a swift yet resonant gesture capturing how we frame the visual field outside of an art context.
Inscription: Stamped in ink, verso BRC: “HARRY SHUNK // Photo and Copyright [in box]”
[Addison Thompson, New York, New York]
The Metropolitan Museum of Art. "Johnson Gallery, Selections from the Collection 3," October 3, 1993–March 1, 1994.
The Metropolitan Museum of Art. "Johnson Gallery, Selections from the Collection 14," September 9, 1996–December 9, 1996.
The Metropolitan Museum of Art. "Photographs: A Decade of Collecting," June 5, 2001–September 4, 2001.
Cooke, Lynne, and Douglas Crimp, ed. Mixed Use, Manhattan: Photography and Related Practices, 1970s to the Present. Cambridge, Mass.: Museo Nacional Centro de Arte Reina Sofía, 2010. p. 67.
See Peter Osborn, Conceptual Art, Phaidon Themes and Movements, p. 82 for a description of the Pier 18 project
Artist: John Baldessari (American, born National City, California, 1931) Date: 2015Medium: Archival inkjet print on Canson Infinity Rag Photographique paper (310 gsm)Accession: 2015.618.1On view in:Not on view
Artist: John Baldessari (American, born National City, California, 1931) Date: 1971Medium: Single-channel digital video, transferred from video tape, black-and-white, sound, 15 min.Accession: 2010.240On view in:Not on view