In his 1969 text The world has too much art—I have made too many objects—what to do?, John Baldessari addressed the relationship between color and form, and sound and image, saying, “Collect old 45 rpm records of pop tunes with a color in the title. i.e., Blue velvet, Mellow-Yellow, Deep Purple, etc. Arrange chromatically on a juke box. One can choose his own colors, composition etc.” The following year, and almost simultaneous with his Cremation Project, in which he burned his pre-1966 paintings in an act of staged iconoclasm, the artist noted instructions and deliberations for Fifteen Musical Projects, 1970, on a sheet of paper. Speech and text thus form the basis of Baldessari’s artistic examination of music. If one reads his Musical Projects—for example, his question, “What are all the possible sounds . . . from all the objects in a room?”—it becomes clear that Baldessari’s understanding
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