A few weeks ago, the Museum of Latin American Art of Buenos Aires opened “John Baldessari: The End of the Line,” the first South American survey dedicated to the titan of conceptual art, who died in 2020. “The End of the Line” features forty-five works spanning five decades, including paintings, photographs and installations, all drawn from the collection of Craig Robins, the Miami-based real estate developer who is also described as “a friend, promoter, close interlocutor and one of the most important collectors of Baldessari’s work,” and organized by Karen Grimson, curator of the Craig Robins Collection.
Observer recently caught up with Robins to hear more about the show and its importance.
How did you come to the work of John Baldessari? What was your first piece by him?
I had been collecting the work of artists who had been students of John’s at CalArts, such as Mike Kelley and David Salle, when Bonnie Clearwater introduced me to John. This was in 1993, and I became immediately interested in his work. The first work by John that I acquired was his text-painting Clement Greenberg from 1966-68, and I kept on collecting his work over the next decades.
Do you have a favorite? Or perhaps a favorite series?
I’m a big fan of all of his works, but if I had to choose, the one work in my collection that stands out the most for its historical importance is Clement Greenberg (1966-1968).
What made you want to bring your collection to Buenos Aires?
First off, I love the city and have a deep love for Latin American culture. Buenos Aires has a vibrant cultural scene and a deep appreciation for contemporary art, making it an ideal location to showcase Baldessari’s work. I wanted to share his art with a new audience and foster a dialogue around his innovative approach. Given there has never been a show about his work in Buenos Aires, I thought it would be a good fit. When Malba expressed an interest, everything came together: I have always admired the Museum and Eduardo Costantini’s commitment to advocating for creativity.
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The show is, of course, being staged at the Museum of Latin American Art of Buenos Aires. What’s your favorite Latin American art?
I tend not to look at or think about art in terms of regional or national categories. I happen to have collected a number of Latin American artists over the years, such as Guillermo Kuitca, Jorge Macchi, Jac Lierner, Gabriel Orozco, Abraham Cruzvillegas, Francis Alys and others, but I never strategize to go after artists because they are from a specific geography. That said, I’m very fond of Kuitca, a great artist and friend.
It feels hard to talk about Baldessari without discussing his influence. In your opinion, what are some examples of his lasting influence on art history?
Baldessari’s influence on art history is immense. He challenged the traditional boundaries of painting and photography, carrying the vision of Marcel Duchamp forward, and paved the way for a great moment of conceptual art. His emphasis on text and image, and his use of humor and irony, have inspired countless artists to explore new mediums and methods.
Humor is hard to pull off in art. Why do you think Baldessari was so good at it?
Baldessari’s wit works so well because it is both intelligent and accessible. He had a keen ability to find the absurd in the everyday, making his work relatable yet deeply insightful. His playful approach to serious topics allows viewers to engage with his art on multiple levels, creating a lasting impact.
What do you hope people get out of this exhibition?
I hope that as visitors interact with John’s work, his enlightened vision helps to touch their brains in a way that makes them feel happier and more optimistic about life and that they leave with a greater appreciation for his genius and his contribution to contemporary art. I want them to be inspired by his innovative use of materials and concepts, and to reflect on the power of humor and irony in art. Ultimately, I hope the exhibition sparks curiosity and encourages people to explore art in new and unexpected ways.
