John Baldessari's "Installation Works: 1987-1989" series, showcased at Marian Goodman Gallery in New York during the summer of 2013, marks a significant phase in the artist's career, introducing architectural elements into his work. This period is characterized by Baldessari's innovative approach to art, merging composite photographic works with architectural components, thereby expanding the spatial and conceptual boundaries of his practice (Marian Goodman).
The series reflects Baldessari's exploration of the relationship between images, culture, and the constructed environment, emphasizing the "distinct separateness" of each photographic image and its composition from disparate fragments in space. He aimed to challenge what he described as "the tyranny of the square," the conventional framing of images, advocating for a more liberated vision that considers the architectural as an integral aspect of image-making. This approach allowed for a broader interpretation of space and the images within it, enriching the viewer's experience of his art (Marian Goodman).
Notable works from this period include "Dwarf and Rhinoceros (with Large Black Shape)" (1989), presented against the backdrop of Spain's cultural memory at the Museo Nacional Centro de Arte Reina Sofia in Madrid, and "Two Stories (Yellow and Blue) and Commentary (with Giraffe)" (1989), which was part of the groundbreaking "Magiciens de la Terre" exhibition at Centre Georges Pompidou in Paris. Another significant piece is "The Difference Between Fête and Fate" (1987/2013), initially created for a special installation and later reconfigured as a multi-wall installation, comprising several groups of black and white photographs of animals and humans (Marian Goodman).
These installations are lauded for their conceptual depth, incorporating cinematic references and historical narratives to create complex, layered narratives. The works not only engage with Baldessari's fascination with the intersection of text, image, and architecture but also with his humorous and critical interrogation of the art-making process and the nature of perception (Observer).
Baldessari's "Installation Works: 1987-1989" thus stands as a testament to his ongoing commitment to pushing the boundaries of conceptual art, exploring the intersections between image, text, and space in ways that challenge and expand our understanding of each (NY Arts Magazine) (Observer).