67.25 × 38.75 in
 in
 cm
Price: $25,000 USD
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This large-scale Printer’s Proof of Baldessari’s aquatint and photogravure Rollercoaster pares the thrilling event of surging along the track down to its base components. The image, while still clearly depicting a theme park ride, exists in crisp greyscale, the raised arms of the riders in one car mirrored by those in the other. Though the scene is close-cropped, Baldessari continues the trajectory of the tracks in a wave of white, red, and green reminiscent of a sound wave—very like the joyful screams one would no doubt hear on such a tumultuous journey.
Pencil signed and numbered.
| Medium | Prints |
| Signature | Signed |
| Frame | Unframed |
| Condition | Excellent |
| Seller | Private |
| Location | USA |
| Provenance | Private Collection; USA |
John Baldessari spent much of his career challenging formalist conventions by working across a diverse range of media, including films, videotapes, prints, photographs, texts, drawings, and various combinations of these. As an early innovator in the use of media imagery, Baldessari became a pioneering “image appropriator,” significantly influencing the development of post-modern art.
Born in 1931, Baldessari pursued studies in art, literature, and art history at San Diego State College and later at the University of California, Berkeley. Initially intending to become an art critic, he eventually shifted his focus to painting after becoming disillusioned with his academic studies.
Drawing inspiration from Dada and Surrealist traditions, Baldessari began integrating elements like photographs, notes, texts, and fragments of conversation into his paintings. His enduring interest lies in demystifying the artistic process. To this end, he often uses video to document his performances, which he describes as “deconstruction experiments.” These exercises aim to challenge traditional notions about art and artists, encouraging viewers to reconsider how they perceive, interpret, and engage with artistic images.
Baldessari’s work represents a significant break from the modernist ideals that dominated painting for much of the 20th century. By treating pop-cultural artefacts as “information” rather than “form,” he created a direct critique of modernist sensibilities, offering a fresh and radical perspective that continues to influence contemporary art.
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