Zig Zag: Glen Baldridge’s Recent Works on Paper

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Desert Sparkle (The End), archival inkjet pigment and screen print on paper.

Zig Zag: Works on Paper is Glen Baldrige‘s latest show at the Robert Blackburn Printmaking Workshop‘s 20 20 space.  Baldridge’s work has always posed a conceptual moving target, with imagery that bounces around in a complicated way making it hard for me to explain exactly why it’s so compelling. I believe this is a problem of vantage point, zoom back far enough and you see an curious mind actively troubling the contextual implications of language in the production of conceptual art. Baldridge uses pop-culture and vernacular visual material as departure points, often from specific to marginal social sub-groups (stoners, loners, teenagers and bodega shoppers) to produce very complicated one-liners. The relationship found between form and content makes strange the ironies buried within the word-play by drawing out the the class distinctions inherent within our popular visual culture. See what I mean? If you spell it out the whole thing reads like some kind of low-brow/hi-brow demo derby. I hope these photographs convey some of the what is interesting and silly about this work.

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The Tripper (2006) on 4.20, Hippie Blood Will Trickle Down and Shrooms (2007)- Get Ready to Get Wasted, both are pigmented linen on cotton based sheets in 2 parts.

Perhaps two of the more irreverent products of a Dieu Donné residency.

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More images after the Jump.

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The End’s Not Near It’s Hear and the related work are shocking to look at as the process, Archival inkjet print with 3 color UV Screen print with color shift pigment on museum board (that’s a mouthful), removes almost all evidence of the artists’ hand making them look more like cultural artifacts than traditional printmaking.

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The End, with close-up below.

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These bullet hole works are referencing the bullet hole stickers you can find at some roadside gas stations or bodegas. The stickers are meant to be affixed to your car to indicate in jest that the driver might be someone whose car would have bullet holes. By creating a textual image out of a trompe l’oeil car surface with the bullet holes, Baldridge layers the context of text and image that makes a quick read of the work nearly impossible.

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Haiku, Watercolor Monotype, with a close-up shot below. This body of work represents his comment on the Stoner Dollar phenomenon.

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This series is called Poem and is also watercolor monotype.

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Grandma’s Boy I , pigmented linen on cotton based sheet.

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I’m not sure what the table was for, but once again I have the feeling I missed all the good snacks.

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