The Green of This Notebook │John Divola

John Divola at Maccarone


John Divola at Maccarone


Artist: John Divola

Venue: Maccarone, New York

Exhibition Title: The Green of This Notebook

Date: May 9 – July 28, 2017

Click here to view slideshow

John Divola at Maccarone




John Divola at Maccarone

John Divola at Maccarone

Full gallery of images, press release and link available after the jump.


Images courtesy of the artist and Maccarone, NY/LA

Press Release:

The full title of this piece is “The Green of this Notebook.” The piece is based on Jean-Paul Sartre’s book “Being and Nothingness”. In this book Sartre attempts, in the abstract, to investigate the essential character of existence. In doing so he often refers to experiential illustrations. In the panels of my installation the images on the left are pages from Sartre’s book with the specific references highlighted. On the right are photographs that have been made to correspond to these references. For example, the highlighted text in the first panel on the left reads, “I am on a narrow path without a guard rail which goes along a precipice.” The panel on the right is my corresponding photographic image. This literal relationship of image and text continues throughout the installation.

Upon seeing that an artwork is based on Sartre’s “Being and Nothingness,” one might reasonably assume some level of pretense and pomposity. However, my interest with this project is really quite simple and not really that complicated. In the early 1940’s Sartre is in the process of examining what one can know and conclude about one’s own consciousness and its relationship to the reality within which it exists. He is examining the specifics of his experiences and making general (abstract) observations and conclusions. This particular text is selected because it is an extreme and ambitious case of moving from the specific to the general and because of the richness of Sartre’s supporting examples.

For me as an artist using photography, this relationship between the specific (indexical) nature of an individual photograph and its abstract reception as an image is central to my interest in the medium. I make photographic imprints from specific circumstances and I hope to bring these images into a dialog with abstract notions of iconography, social history, and individual expectations.

In Sartre’s project he often uses experiential examples. These examples are primarily visual but sometimes they deal with sound, tactility, or emotion. While Sartre’s general enterprise endeavors to be academic and “objective”, these illustrating examples cannot avoid the subjective. These are images and ideas that spring to mind. The specificities of Sartre’s context, Paris in the early 1940’s, are embedded in his examples.

I like to think of my project as an existential poetics embracing the elements outlined above. It is hopefully a poetics that address the essential nature of the photographic process. The project is based in an appreciation of the subjective and expressive power of the examples themselves and the specifics of Sartre’s context. It is also an index of my specific conditions and the circumstances of the West Coast of the United States in the late 1990’s.

John Divola

The Green of This Notebook, is John Divola’s second solo exhibition with Maccarone, on view from May 9th to July 28th, 2017 at 98 Morton Street location. His series “Abandoned Paintings” is now on view at the 2017 Whitney Biennial, Whitney Museum of American Art.

John Divola (b. 1949, Los Angeles) lives and works in California. His work has been featured in more than seventy solo exhibitions in the United States, Japan, Europe, Mexico, and Australia. The retrospective “John Divola: As Far As I Could Get” was held concurrently at Santa Barbara Museum of Art, the Pomona College Museum of Art and Los Angeles County Museum of Art in 2013. Since 1975, John Divola has been a professor of photography, since 1988 at the University of California, Riverside. Recent group exhibitions include Whitney Biennial 2017, “Autophoto,” Fondation Cartier pour l’art contemporain, Paris, France, “Los Angeles As Fiction,” Astrup Fearnley Museet, Olso, Norway, “California and the West,” San Francisco Museum of Modern Art, “The Sun Placed in the Abyss,” Columbus Museum of Art, “Still Life With Fish: Photography From the Collection,” Hammer Museum, Los Angeles, and “Ordinary Pictures,” Walker Art Center.

Link: John Divola at Maccarone


Marcel Duchamp │at Gagosian

Marcel Duchamp
MARCEL DUCHAMP, Bicycle Wheel, 1913/64 (“Ex Arturo,” one of two artist’s proofs) © Succession Marcel Duchamp/ADAGP, Paris/Artists Rights Society (ARS), New York 2014

June 26 – August 8, 2014

980 Madison Avenue
New York, NY 10075
T. 212.744.2313 F. 212.772.7962
Summer Hours: Mon–Fri 10-6
Gallery Information
Gallery Map

• About Exhibition
• Images
• Installation Video
• Artist Info
• Press

Marcel Duchamp –

MARCEL DUCHAMP, Bicycle Wheel, 1913/64 (“Ex Arturo,” one of two artist’s proofs) © Succession Marcel Duchamp/ADAGP, Paris/Artists Rights Society (ARS), New York 2014

Download Press Release PDF (42 Kb)

Opening reception: Thursday, June 26th, from 6:00 to 8:00pm

Choice is the crucial factor in a work of art.
—Marcel Duchamp

Gagosian New York is pleased to present an exhibition of Marcel Duchamp’s editioned readymades, fifty years after their American debut at the same building on Madison Avenue.

Duchamp remains the ultimate avant-gardist whose subversive attitude continues to impact contemporary art practices. The painting Nude Descending a Staircase (No. 2) (1912), in which he animated a classical subject with a sense of mechanical motion, scandalized audiences at the 1913 Armory Show, and cemented his reputation as provocateur. His first readymade, a standard bicycle wheel attached to a wooden stool, came about “as a pleasure, something to have in my room the way you have a fire, or a pencil sharpener, except that there was no usefulness.” This unprecedented gesture anticipated further challenges to what he perceived to be a false hierarchy of objects. By instructing his sister to sign Bottle Rack (Bottle Dryer) (1914), he elevated it from utilitarian status while abdicating his own authorship of the idea. For Fountain (1917), he purchased a standard urinal, signed it “R. Mutt,” and submitted it to an exhibition organized by the Society of Independent Artists, where it was rejected on grounds of indecency.

Duchamp supplanted these first readymades, many of which were lost or destroyed over the course of the next fifty years, with fourteen precisely executed editioned multiples, published by Arturo Schwarz from 1964. These editioned readymades, including Fountain, Bicycle Wheel, Hat Rack, and Traveler’s Folding Item, were exhibited the following year at Cordier & Ekstrom Gallery, then located at 978 Madison Avenue. By memorializing his own oeuvre via recreation and reproduction, Duchamp maintained his dissident vision of artistic integrity, epitomized by Boîte-en-valise (1935–41), a suitcase containing a “portable museum” comprised of fold-out reproductions and miniature replicas of his most important works.

Thus the readymades represent a challenging rupture for Modernism, a moment when the foundations of originality and authorship were shaken by the radical imaginings of one artist. Parallel with the emergence of Pop artists Jasper Johns, Claes Oldenburg, and Andy Warhol, and anticipating the appropriational methods of Jeff Koons, Duchamp’s replication of his own creative acts presaged art in the age of mechanical reproduction.

A fully illustrated catalogue with new texts by Calvin Tomkins and Dr. Adina Kamien-Kazhdan is forthcoming.

A revised, expanded edition of Calvin Tomkins’s The Bride and the Bachelors, which traces Duchamp’s legacy through profiles of Duchamp, John Cage, Merce Cunningham, Jasper Johns, Robert Rauschenberg, and Jean Tinguely, was published by Gagosian in 2014.

Marcel Duchamp was born in Blainville-Crevon, France in 1887, and died in Neuilly-sur-Seine, France in 1968. Public collections include Museum of Modern Art, New York; Philadelphia Museum of Art; Art Institute of Chicago; Menil Collection, Houston; Tate, London; Centre Georges Pompidou, Paris; Musée d´Art Moderne de la Ville de Paris; and Israel Museum, Jerusalem. Major retrospective exhibitions include Pasadena Museum of California Art (1963); Tate, London (1966); Philadelphia Museum of Art (1973); Centre Georges Pompidou, Paris (1977); and Palazzo Grassi, Venice (1993).

For further information please contact the gallery at or at +1.212.744.2313. All images are subject to copyright. Gallery approval must be granted prior to reproduction.

Press Enquiries
Blue Medium, Inc.
T. +1.212.675.1800

Contact: Deirdre Maher

Contact: Andy Ptaschinski

Please join the conversation with Gagosian Gallery on Twitter (@GagosianNY), Facebook (@GagosianGallery), Google+ (@Gagosian Gallery), Instagram (@gagosiangallery), and Tumblr (@GagosianGallery) via the hashtag #MarcelDuchamp.