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John BaldessariTwo Screenprinted pillow cases (one hand signed by Baldessari) in bespoke box 2014
2014
About the Item
John Baldessari Pillow Cases in Bespoke Presentation Box (one pillowcase hand signed by John Baldessari) for The Thing Quarterly Issue 22, 2014
Silkscreen on 100% cotton 320 thread count sateen pillowcases (Hand signed by John Baldessari)
Boldly signed in ink by John Baldessari on one of the pillowcases (see photo)
Unframed
One of the pillowcases is hand signed in ink by John Baldessari:
John Baldessari was one of the artists who were invited to contribute an object (or "thing") with text for a special project for "The Thing" publication (read on for more on "The Thing") ; the conceptual object therefore had to incorporate text. Baldessari's contribution in 2014 was a silkscreened pillowcase with text. A limited (unknown) number of these pillowcases were marketed and sold as a set of two in a bespoke box. However, exceptionally, Baldessari hand signed a very few of pillowcases in ink. This is one of the very special sets bearing one hand signed pillow case - purchased directly from "The Thing". (a copy of the 2014 receipt is shown here.) The rest of these boxed sets were not hand signed.
The pillowcase is brand new, and will look gorgeous once pressed and framed by a professional framer.
More about this boxed set:
Issue 22 of THE THING Quarterly is by LA-based conceptual artist John Baldessari. It consists of two 100% cotton sateen pillowcases featuring an image of a woman clutching a pillow. The black and white image is taken from a Hollywood film still in Baldessari's collection and has been silkscreened on each pillowcase with environmentally-friendly, water-based ink. The pillowcases are standard-sized and envelope-style. For those who like their thread count high, the issue clocks in at a solid 320 thread count.
Measurements:
Box
10.5 inches by 13 inches by 2 inches
Pillow
20 inches vertical by 26 inches
What was The Thing Quarterly?
THE THING was an experimental publication created in collaboration with Will Rogan as part of an artist residency. We saw it as a quarterly periodical in the form of an object. Each year, four artists, writers, musicians or filmmakers were invited to create an everyday object that somehow incorporates text. The object is reproduced and hand wrapped at wrapping parties and then mailed to the homes of the subscribers with the help of the United States Postal Service.
It began as part of an artist residency in San Francisco’s Southern Exposure. Will and I had met in grad school at UC Berkeley and discovered our mutual affinity for quarterlies. He was a librarian at SFAI for five years and I had been a high school teacher for five years. WE were both interested pushing the boundaries of publication. Our plan was to create a 1 year publication with four artists, but from the very start the project generated so much interest and international excitement that we found ourselves running a publication complete with a brick and mortar storefront and a staff of four individuals. After 10 years, 34 issues, 59 projects and countless live events, we decided to end the publication in order to pursue our individual projects. We are still working together on a less ambitious new project, and hope to launch it at some point in 2021.
CONTRIBUTORS: have included John Baldessari, Dave Eggers, Miranda July, Allora & Calzadilla, Starlee Kine, Matthew Higgs, Kota Ezawa, Trisha Donelly, Tucker Nichols, Lucy Pullen, Ryan Gander, Allora & Calzadilla, Mike Mills, Tauba Auerbach, Jonathan Lethem, Brian Roeittinger, Gabrielle Orozco, Trevor Paglen, and Amanda Ross-Ho. The issues have ranged from pull-down window shades with text silk-screened onto them, to wall clocks, to boomerangs.
PRESS, RESIDENCIES AND ART FAIRS: With an international subscriber base of 1000 plus, THE THING has been featured on PRI’s Marketplace, Frieze Magazine, the SF Chronicle, the New York Times and the T magazine, the LA Times, Readymade, Art21 Blog, the New Yorker Blog, and Artforum. THE THING has run projects at Southern Exposure in San Francisco, Artists Space in NY and Lisson Gallery in London and SFMOMA. It has participated in art fairs in New York, Los Angeles, Mexico City, Paris and Tokyo.
COLLECTIONS: THE THING is in the collections of the The Getty, National Gallery of Canada, The McEvoy Fine Art Collection, Kadist, SFMOMA, UC Berkeley Library, The San Francisco Art Institute, the San Francisco Public Library, and the Baltimore Museum of Modern Art.
About John Baldessari:
John Anthony Baldessari (June 17, 1931 – January 2, 2020) was an American conceptual artist known for his work featuring found photography and appropriated images. He lived and worked in Santa Monica and Venice, California. Initially a painter, Baldessari began to incorporate texts and photography into his canvases in the mid-1960s. In 1970 he began working in printmaking, film, video, installation, sculpture and photography. He created thousands of works which demonstrate—and, in many cases, combine—the narrative potential of images and the associative power of language within the boundaries of the work of art. His art has been featured in more than 200 solo exhibitions in the U.S. and Europe. His work influenced that of Cindy Sherman, David Salle, Annette Lemieux, and Barbara Kruger among others.
- Creator:John Baldessari (1931, American)
- Creation Year:2014
- Dimensions:Height: 10.5 in (26.67 cm)Width: 13 in (33.02 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Excellent; held inside the original bespoke box.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745213171272
John Baldessari
Although Conceptual artist John Baldessari is best known for the richly provocative juxtapositions of photographic images and text that characterize his prints and paintings, he actually had something of a traditional art world upbringing — if such a thing exists.
Born in Southern California, Baldessari earned several art degrees, from art education to art history to painting. He also taught art at various institutions such as the California Institute of the Arts throughout his life. Among his many students were David Salle, Tony Oursler, Jim Shaw and Mike Kelley. While helping to shape the art world in Los Angeles, he simultaneously developed his own name as an artist.
In the 1950s, Baldessari’s works were primarily semiabstract paintings, but during the late 1960s, he began to distance himself from painting, as he bristled at the idea of limiting art to a single medium. Baldessari decided to take his career in a dramatically different direction. He burned all his paintings at a funeral home in San Diego, then incorporated the ashes into cookie dough, producing (nonedible) baked goods for an exhibition at the Museum of Modern Art in New York City.
“It was a very public and symbolic act,” he said, “like announcing you’re going on a diet in order to stick to it.”
From that point on, Baldessari took on an MO of experimentation, dabbling in mediums from video to printmaking to sculpture. “I just stare at something and say: Why isn’t that art? Why couldn’t that be art?” he said in an interview in 2008.
The works for which Baldessari is most highly regarded, however, are striking collages of images and text — many of which are seemingly nonsensical — such as Tom’s Hand Grips the Steering, Wheel… (2015), in which the title’s text is displayed beneath a hippopotamus. As such is his body of work: bringing a sense of joviality to the sometimes too-serious world of Conceptual art.
Before he died in 2020, Baldessari was honored with the 2014 National Medal of Arts Award, the Americans for the Arts Lifetime Achievement Award, the Venice Biennale’s Golden Lion for Lifetime Achievement and more.
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