sliderarrowCloseMenushare_facebookshare_instagramshare_xshare_linkedinshare_threadsshare_shareshare_tranditionalshare_calendarshare_emailicon_threadsconnect_facebookconnect_instagramconnect_xconnect_youtubeconnect_atbtn_arrowhamburger-x
Skip to main content
Menu Collections

Minerva (With Old and New Truths)

Minerva (With Old and New Truths)

© John Baldessari

Minerva (With Old and New Truths)
Minerva (With Old and New Truths)
ArtistAmerican, 1931–2020
CultureAmerican
Titles
  • Minerva (With Old and New Truths)
Date1987
PlaceUnited States
MediumGelatin silver prints with applied color
DimensionsOverall: 92 1/2 × 48 1/2 in. (235 × 123.2 cm)
Credit LineMuseum purchase funded by the Agnes Cullen Arnold Endowment
Object number89.116
Non exposé

Explore Further

Department
Photography
Object Type
Description

Minerva (With Old and New Truths) is a photographic collage composed of eight
fragmented images, taken from various preexisting sources (films and
photographs) and arranged vertically in the three panels. The title is taken
from a sentence of Hegel’s, “Minerva’s owl begins its flight only in the
gathering dusk.” It refers to the crystallization of Greek culture that accompanied
major classical literature and art in the period that saw the fall of the
previous Grecian civilization. 

 




Together with his other complex photo-collages
of the 1980s, this work seems like a long meditation on Roland Barthes’s
statement from his 1966 essay “Introduction to the Structural Analysis of
Narratives,” “the narratives of the world are numberless…Must we conclude from
this universality that narrative is insignificant?” In this work of enigmatic
juxtaposition, Baldessari is neither willing to pin down any explicit narrative
nor to exclude alternative readings of its significance. Here, Baldesssari
seems to suggests a dialectic of “ability to see” and “inability to see” in the
arranged images.


ProvenanceSonnabend Gallery; MFAH, July 1989.
Exhibition History"Photographic Masterworks: Recent Acquisitions from the Museum of Fine Arts, Houston," Glassell School, January 23–March 4, 1990

"Contemporary Art and Photography: Spotlight on the Collection of the Museum of Fine Arts, Houston," Museum of Fine Arts, Houston, Upper Brown Pavilion, September 30, 2001–February 3, 2002.

"Ruptures and Continuities: Photography Made after 1960 from the MFAH Collection," Museum of Fine Arts, Houston, Brown Foundation Galleries, February 21–May 9, 2010.

"A History of Photography" (Rotation #2), Museum of Fine Arts, Houston, Lower Beck Corridor, May 1, 2015–June 21, 2015.
Published References John juxtaposes here an owl, the symbol of Minerva, the Roman goddess of war and wisdom with various pictures of sight and blindness or blocked vision. The works from this period combined cropped images from movie stills, which are images he says are part of our collective unconscious. But he also introduced more ancient references such as the one to Minerva. He wants our emotional response to the piece to be part of the process. [Coosje van Bruggen John Baldessari, The Museum of contemporary Art, Los Angeles and Rizzoli, 1990. Pg 131, our image reproduced on pg 208] "'For most of us photography stands for the truth,' Baldesari has said. 'But a good artist can make a harder truth by manipulating forms orpusing paint around. It fascinates me how I can manipulate the truth so easily by the way I juxtapose opposites or crop the image or take it out of context. When wo forces contend in a photograph, I may favor one side or the other --- the rider or the horse, for example, the unright mummy in its coffin or the woman standing in awe next to it. Cropping can make the outcome of a struggle ambiguous." [Coosje van Bruggen John Baldessari, The Museum of contemporary Art, Los Angeles and Rizzoli, 1990. Pg 214]

Cataloguing data may change with further research.

If you have questions about this work of art or the MFAH Online Collection please contact us.

Astronauts and Businessmen
John Baldessari
1988
Gelatin silver prints with applied acrylic paint
2002.2977
Two Cages (Similar) with Another Person Choosing
John Baldessari
1991
Gelatin silver print with applied color
98.226.A-.C
Working proof of Heaven
John Baldessari
no date
Photoetching and aquatint in colors, with hand-applied watercolor and collaged element in pastel over watercolor
96.89.29
John Baldessari
no date
Photoetching in colors with hand-applied watercolor
96.89.9
Working proof of Heaven
John Baldessari
no date
Photoetching in colors with hand-applied watercolor and pastel
96.89.8
A Different Kind of Order (The Thelonious Monk Story)
John Baldessari
1972–1973
Gelatin silver prints and printed text with artist's frames
78.4
John Baldessari
no date
Photoetching and aquatint with hand-applied watercolor
96.89.41
Color trial proof of test plate for Hell
John Baldessari
1988
Photoetching with hand-applied crayon
96.89.26
John Baldessari
no date
Photoetching with hand-applied watercolor
96.89.22
John Baldessari
no date
Photoetching with hand-applied watercolor
96.89.21
[Celluloid Buttons and Advertising Materials in Salesman Sample Case]
Cruver Manufacturing Company
1910s–1920s
4 gelatin silver prints with applied color on celluloid buttons in black case with purple fabric lining 14 color relief halftone prints, laminated Related paper advertisement ephemera
2017.3.1-.18
John Baldessari