- Conceptual Art: An Introduction
- Joseph Kosuth, One and Three Chairs
- Martha Rosler, The Bowery in Two Inadequate Descriptive Systems
- The Case for Yoko Ono
- Vito Acconci, Following Piece
- John Baldessari, I Will Not Make Any More Boring Art
- John Baldessari, I Will Not Make Any More Boring Art
- Hans Haacke: "A Breed Apart" in South Africa
- Hans Haacke, Seurat's 'Les Poseuses' (small version)
- Nam June Paik, Electronic Superhighway: Continental U.S., Alaska, Hawaii
- Preserving Nam June Paik's Electronic Superhighway
- Jannis Kounellis, "Da inventare sul posto (To invent on the spot)"
- Juan Downey: Plato Now
- Cildo Meireles
- Eleanor Antin, Carving: A Traditional Sculpture
- Nauman, The True Artist Helps the World by Revealing Mystic Truths
- Mónica Mayer, The Clothesline
- Mary Kelly, Post-Partum Document
- Yayoi Kusama
- How to paint like Yayoi Kusama
- Yayoi Kusama, Narcissus Garden
- Yayoi Kusama, Pumpkin
John Baldessari, I Will Not Make Any More Boring Art
John Baldessari, I Will Not Make Any More Boring Art, 1971, lithograph, 22-7/16 x 30-1/16 inches (The Museum of Modern Art), images © John Baldessari, courtesy of the artist Speakers: Dr. Beth Harris & Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.
Want to join the conversation?
- Is this what people refer to as 'meta'?(10 votes)
- The art that he created after making this particular work: is there any significant consensus in the art history world that it was it a significant improvement (in terms of boringness) over his previous art?(6 votes)
- Baldessari is not a as big a name in the art world that he is mentioned in all the books (yet?), so to speak of a consensus might be a bit much. Baldessari speaks of this as a turning point for himself. Before these I think he mostly painted. In 1970, ('I will not make any more boring art' was made in '71) he ritually cremated all of his paintings. What I mean to say is that this peace might be more of a personal turning point for him, the reason he makes his art, than a public opinion-creating statement.(5 votes)
- Did the artist ever swear off sarcasm in his art, the way Paul van der Hoeven did after he made "Starship Troopers"?(3 votes)
- He certainly didn't. His most recent work is still sarcastic and funny and designed to make the viewer think.
- The Simpsons - Season 4 - Episode 1 - This punishment is not boring and pointless. Are you out there reading this, Matt Groening. Is this an influence?(1 vote)
- Hello I was wondering what is the consensus of art history because I would love to do a topic on art history for ap research? If anyone could help me with ap research that would be great!(1 vote)
(lively piano music) Voiceover: "I will not make any more boring art." Voiceover: "I will not make any more boring art." Voiceover: This is repeated, over and over again, down the length of a sheet of paper, and originally down the length of a wall, in column after column. Voiceover: Clearly, this is like a schoolroom punishment. "I will remember to do my homework," written over, and over, and over again. Voiceover: We're talking about a work of art that was made by an artist whose name is John Baldessari. that was made in 1971, first in the Nova Scotia College of Art & Design. Voiceover: This is basically a form we already know. We know it as a schoolroom punishment. How is it transformed into art? Voiceover: Well, I think that the idea that it was in a gallery, that context was really important to the artist. He actually has spoken about how he takes his word images and makes them on canvas to give them that frame of reference. Yeah, this is different than if it was on a blackboard in a school. Voiceover: Let's think about the words for a second, because it's not, "I will not speak out in class." It's, "I will not make any more boring art." It's self-punishing. He's looking at his career and saying, "I made some bad art, and in the future, "I'm not going to make any more bad art." Voiceover: He had apparently originally written the sentence in his own private notebook. That was the genesis of this. I think it's important to understand this within the broader context of his early career. Baldessari had been taught, I think like so many art students, to create, in a kind of abstract expression, a style. Voiceover: We're talking here about Mark Rothko, about Jackson Pollock, artists who were making what I think of as very serious art in the 1950s. Voiceover: Well, what this artist did, was in 1970, to gather up all of the canvases that he owned of his own work. These were abstractions. There were landscapes. Then, together with some friends, and some art students of his, he brought them to a crematorium, and he had them burned like we burn bodies. Then, he took the ashes, and he put them in an urn. This was a way of creating, I think, a really [stark erupture] in his career between this older style and his mature, much more conceptually oriented work. Voiceover: There is a way in which art was painting still, even in the 1960s. To make art, you paint it. In "I will not make any more boring art," is labeling that as boring, and saying "I'm going to do something different going forward." Voiceover: But, even using the word "boring" is hilarious and off limits. Voiceover: It's true (laughs) Voiceover: Because in the serious nomenclature of the art world, you don't use words like "boring." There's a kind of directness and a kind of humor that's incorporated in this deep irony. Voiceover: You can see that as an artist the real challenge would be, what is interesting art? What does it mean to make art that's sincere, and engaging, and clever, and new? Voiceover: It was also about the qualities of new conceptual art. If you think about, for instance, the work that people, like Sol Lewitt, there's a kind of cool clarity, which is also at the same time boring, although you're not allowed to say that. So, there's something wonderfully ironic, but also irreverent about this. (lively piano music)