Valuation of this body of work as to individual examples presents complex issues. On the one hand, the Oeuvre is static, in that the Artist is deceased and thus the output is clearly limited (setting aside the existence of Set Eleven). Certainly, early works are often favored by collectors, while considerations of size, comparables, subject matter, flash and pure execution operate as counter balances, along with other more subjective issues that will be left for further analysis. But for discussion purpose, two hypotheticals might be considered.
The first would be: What would be required in order to assemble a definitive collection of JLD works? What would a museum or an adamant collector be seeking? The answer would be at least one or more examples from each of the 10 (or 11) Sets. But in order to do so, reality intrudes as there are only five of the Set Nine Shrouds. If they aren’t counted, then the answer would be eight, as that is the number of the Set Three Keyholes.
The second would be those interested in a thematic collection, a smaller quest focused on examples which share aspects of varied nature. For instance, assembling #105 Drunk, along with the existent study, the Shroud related to it and the taped set of stirring sticks used in its execution that he segregated and labeled for each of the five Jacksons would be quite an accomplishment, as would be one of the Set Two Jasper Johns tributes along with some of the paper works referencing him in Sets Four, Six and Seven.
Another query is Which are the most valuable pieces? Six of my choices include:
Combat Prototype, #1 Set One
The first of his creations, and an interesting one at that.
Stencil Madness #2 #135 Set Two
No doubt the last of his creations before his death, found on the floor with unsprayed, etched stencils he never finished. It’s also dramatic illustration of the mania he was dealing with. Among other features, it contains virtually all of the etched stencils used in Set One, along with two sets of four repetitions (one an etched stencil, the other singles) of the phrase I’ve Got My Own Hook (which initially appeared in Set One #12) along with four repetitions in five inch letters of his initials (as if a signature), the only place on all of the canvases (excepting Set Two #128) where he leaves an ID. Another fascinating aspect of this work is that via the placement of the sets of phrases and initials, it can be hung in any one of four positions whilst appearing to have been meant to be. Priceless.
Jackson/Tree, #127 Set Two
A stunningly well-executed painting and one of the most visually appealing, it’s also one of the last finished prior to his trip to Chimney Canyon, the words (to Pollock) I’d like to think you hit the tree on purpose haunting.
Susanna & The Pharaoh, #134 Set Two
For the reasons stated, supra. And also a very visually attractive piece.
In The Air Tonight, #108 Set Two
One of the larger and earlier of JLD’s works on his hand-constructed canvases, this particular piece is unique in that it doesn’t reference any of the other paintings. In addition, the mournful, perhaps prescient message regarding his ultimate demise is breathtaking. The partial text I Can Feel It is repeated on Stencil Madness #2.
But my personal favorite is:
Stencil Madness #1, #128 Set Two
This has got tragedy written all over it, from the highlighted, black gloss letters XYZ-JLD-RIP to the manic, repetitive other words, possibly a warm up for the soon-to-follow explosion of Stencil Madness #2.
Eliminate Prototype, and the remaining five are from Set Two. Eliminate In The Air, and the remaining four are chosen from the last known nine works on canvas. Eliminate Tree, and those that remain are (by numbering) his three final paintings.
But choosing those six as most valuable is based only on a speculation as to what an open market might choose without any other considerations, and weighted toward their historic desirability rather than what a collector might want to hang on a wall. For instance, Picasso’s Guernica is arguably the most valuable of all of the works in his catalogue but I can think of a dozen alternate works of Pablo’s I’d rather have in my living room and that’s simply based on what I (or a collector) likes.
For instance, Set Two #103 Win A Prize, the third of his large format tributes to Jasper Johns, is not only very strikingly visually attractive but also very cleverly executed. At first glance, the text: Jasper? Solve the Puzzle…Win a Prize…Clue: True End provokes the viewer to participate in the riddle. That gambit alone would be enough to elicit curiosity and interest. But then a closer look at it reveals there is an entirely different painting hidden below the crimson surface containing the text: Jasper? Have you ever had a False Start? This is one of mine …There’s a term…Caddywampus. Could this be a reference to the 13 small beginnings of stripes at the bottom, which mimic those on Set Two #099’s text: Jasper? Don’t Send Lawyers…I’ve Got My Own Hook…Combat Art, which in turn mimics Johns’ iconic flag paintings? Certainly. Though it also, returning to the clue, is a nod to False Start, widely acknowledged to be one of Johns’ most pivotal masterworks. This ruse is also employed two canvases earlier in #101 Black Box. While at first glance the black rectangle in the center of the painting appears to be simply that, a closer examination reveals the hidden word Please and mimics #100—both as to the word and in that it reproduces #100’s image in smaller scale—though I can’t decipher the longer word(s) below it.
Another Set Two work, #109 Ouija, also has a great amount of wit combined with very clever execution. Ouija—the combination of the two French and German words for yes—is easily recognizable as the term for the fortune telling parlor device. Simple enough, and repeated two times on the canvas, as are a pair each of red numerals 2, small penciled circles, the texted word TWO, matching red reflectors, a duo of questions marks, 30.06 shell casings and a schoolchild’s math flash card (4 - 2 = 2.) Missing is the planchette used to divine the spirit’s message, but not to worry. In the lower left corner is a tiny Ouija board, and directly above it is a pushbutton telephone keypad to simplify the task of receiving answers.
One that was very puzzling is Set Two #110 Trinity. It contains, in descending order, the words Jesus, Paul, Jackie (in blue), followed by Trinity, Littleboy and Fatman (in red), with a tiny billiard 8 ball hanging beside Jackie. At first I guessed it was a biblical reference though couldn’t figure out how the pieces fit. So it’s right there, resting on the file cabinet behind my desk when our overnight security supervisor Jesse steps in with cups of coffee for us during his break. He stares at it a moment then chuckles and claps his hands, saying he thought it was very clever, so I requested his reasoning. The last three words, he grins, are the nicknames of the trio of atomic bombs created by our friends up in Los Alamos before the final pair were dropped on Japan in WW II. The match of Jesus & Trinity was now clear. But where did Paul and Jackie fit in? He points to the 8 ball and speculates that I must not have seen the movie The Hustler (he was right). Then he explained that it was a famous 60s pool hall drama that would have swept the Academy Awards were it not for “that worthless song and dance musical West Side Story.” Turns out Paul Newman played a young guy named Eddie who’d hustled up enough cash to take on the legendary Minnesota Fats, played by Jackie Gleason Eddie refers to as Fatman.
An even more fascinating brainteaser is Set Two’s #111 6 Commonalities, in which we are challenged to divine six characteristics shared among each of over a dozen names. All of us puzzled over the solution, and after numerous discussions were stuck at four or five, when Jessie once again came to the rescue. (Note: If you take me out for those cocktails you’ve been hinting at, I promise to whisper the answer in your ear). As a bonus, I think I’ve solved the mystery of the numbers contained in #83 99, the final painting in Set One. There’s something very familiar to me about that 95-95-97-98-99 combination and I’m certain I’ll be able to present documented evidence after the University of Illinois replies to a recent query.
Along these lines, allow me to share some random observations I’ve made thus far studying th
e entire collection. Though one would have thought CYD would appear somewhere, it doesn’t (but is obliquely referenced by the repeated use of the term Sixers). While JLD was fascinated with the 1980s (as everybody else these days), especially as to music (Susanna Hoffs, for example), he also seemed caught up in current pop culture. His interest in women is obvious but in an oftentimes sweet, almost innocent manner. For instance, his references to Hoffs are puppy lovish; he wants to just look into her eyes or be going steady with her. However, our boy did also have a randy side, as demonstrated in his (humorously) sexually oriented board games and other passing references. Actually, the whole outfit suggested in Set Two #130 Zuni would be very appropriate for a dangerous girl looking for trouble on a Saturday night. But oddly, there are very few references to any relationships he actually had, except for perhaps his former girlfriend Patricia in the scathing Fuh of Set Five. He made only indirect nods to friends and relatives while showing interest in intoxicants of various kinds. In the thousands upon thousands of words appearing in the Board Games and Fuhs there are scant notations as to geographic locations, religion, politics, education (except for the University of Illinois at Urbana-Champaign in the Repeaters, where I’ve confirmed he received a BFA from the College of Fine & Applied Arts with Honors and High Distinction in Writing, and was accepted for the Masters program though never followed through. It was also during this time that he likely met Patricia, who apparently was matriculating at the College of Law), employment or most other solid biographic details, nor any clue as to how or why he chose his nom de plume (aside from employing his own initials). Two striking exceptions are Set Four’s #s 124 and 125, The Trip and The Other Trip, in which he writes about taking LSD (once and only once) with two friends and attending a rock festival with two different friends where he ingested mescaline.
A few other comments regarding the works on paper are in order, especially as to Sets Four and Five. While many rival visual punch of the works on canvas, the genuine charm is expressed by the narratives; the imagination, humor and most importantly the insights into his mind.
I have yet to firmly sort out the timeline of the creation of the works on paper, but based on the numbers on their reverses, along with the general subject matter, it appears that the smallest studies came first, then the Fuhs and midsized examples (which have overlapping numbers), and finally the 22x30 Board Games, Observations and Repeaters.
The works in Set Four can be split into three general categories. My favorites are what he terms Okay—This is the design for a popular Board Game of the future. They are stunning in their detail, creativity and the pure joy conveyed in the verbal descriptions. After introducing the name of the game and providing a mockup of the playing surface, he then lists the inclusions (such as player markers, score pads and playing cards) and a basic outline of the rules. Reasons for participating in the game are often mentioned, followed by the best aspects including his asides and suggested strategies for winning, though he often departs from the actual games onto tangents that have to be read to be appreciated. All of the Board Games fall into the genre of Adult Interactive (e.g. Get It Right! and Pictionary) as opposed to Abstract Strategy (e.g. Standoff! and Chess). Though it’s doubtful any of them would ever become as popular as those pastimes, it’s not unimaginable that they might be considered proper for manufacturing in limited edition runs once the missing items are created. And at the very least, assuming the Estate retains all image/repo rights, I’d recommend lithograph sets (100 each?) of the best ones, maybe double stamped with the chop for added flair.
The Observations are descriptively shorter than the Board Games and have a very casual, spur of the moment feel.
Finally, the Repeaters. When I was going through the collection on a first count basis, I saw a small stack of 22x30s off in a corner. The paper on top showed a stenciled CA logo with a large red X cancelling it, so I figured they were blanks. Then I noticed the makings of an image on the reverse, so I lifted the stack and placed it on a table. When I flipped them over and saw what they contained, I began to shake. It was as if I was watching him drop into mental pandemonium before my very eyes. These works must have been executed very close to his disappearance during those final days when, based on his Biograffairs blog, he was alternating between crystal clear lucidity and hallucinogenic delusion. While my first thought was to place them in a separate gallery on TCAZ, I instead inserted them in the Mélange set. Why he chose to frame Illinois #2 is a mystery.
The 19 works within Set Five all begin with This is the Fuh of a person who will exist in the future, then notes the character’s name and continues with what may be termed as a brief biography of between 400-600 words (as opposed to the Board Games which contain 500 to over 1,000). Each is accompanied to the left of the bio with a large rectangle containing four smaller rectangles, each of them penciled or markered in contrasting colors. I haven’t been able to locate a definition of the term Fuh, though in context it seems to be a reference to a chop or stamp.
Another baffler are the Keyholes, the eight constructions of Set Three that suddenly pop up out of thin air in the middle of the execution of the Set Two pieces with no relation to anything that comes before nor after them. They mustn’t have been the result of a spur of the moment decision due to the facts that he’d have to have obtained the hotel keys somewhere and have arranged for the silver/zinc plating.
Regarding the Set Ten items, I think that some of them may be worth substantially more than many of the smaller works on paper and in combination with those smaller works also serve your stated desire to ease into liquidation of the Estate’s assets with conservative first steps. As an example of a highly valuable object, consider the etched, horizontal three inch CA logo. This artifact has morphed into a genuine treasure because of over a hundred coats of paint applied in its use on most of the Set One canvases, many of the Set Two canvases and most of the Set Four 22x30 works on paper. Imagine it set in a triple matte and elegant frame, then imagine the desires it would evoke in serious collectors. I’ve added some of these objects to the Mélange gallery on TCAZ.
Another priceless object is the chop he stamped all of the works on paper with. A suggestion: Once the marketplace and public have decided on their favorite images, please consider employing it to authenticate possible limited edition runs. And taking that thought a step further, think about including one of the anchor coins I’ve found showing the paint that was sprayed over them. Something that he actually held in his hand, like a relic.
The most important companion piece to any item in the Oeuvre, from the major paintings down to a lowly coin employed in the stencil anchoring process, will be the Certificate of Authenticity accompanying it. I’d recommend that after the appropriate wording and provenance issues are settled, the COAs be produced in a striking, visually appealing manner in order for them to be, if you will, suitable for framing. Stamping them with the chop would also be a nice touch. It goes without saying that the latest in anticopy technology should be employed for all COAs issued. That being done, I’d further suggest that some Set Ten objects, along with choices from Sets Seven and Eight, be employed in testing the market via listings on easily accessible internet sites such as eBay and Pinkiefinger. The results from this experiment could provide valuable insights regarding exactly how strong demand might be for the rarer works.
Based on entries in his notebook, it’s clear that he valued the Board Games more than any of the works on canvas. Why he did can only be speculated upon, though a likely answer is that he genuinely cherished the lengthy texts they contain as a uniquely original demonstration of his creativity, humor and sensibilities.
As a final observation, I agree with you that a tight and consistent control of the simple function of the rule of supply and demand is of paramount importance. Except for the small number of examples falling into the Missing category, and excepting the works currently on hold that have been designated TSL, your choices as to price and distribution are virtually l
imitless. I urge that all possible contingencies and desired outcomes be carefully considered before a partial or entire liquidation of the Estate’s assets is embarked upon. As the Estate does not have an immediate need of funds to satisfy any major financial obligations, I’d suggest that months, or even more time, be devoted to a well-reasoned and comprehensive plan, along with further curatorial efforts. An additional Estate asset could be a large format catalogue, and I could recommend a certain lady who could oversee such a project with energy and dedication to achieving your desires.
It goes without saying that retention of all of the reproduction rights remain with the Estate. Though copyright protection should cover this issue, I’d recommend that it be preserved in airtight language included in the COAs and transfer contracts, especially as to the rights to copy anything in any manner of your choosing. I’d also urge that the totality of postings which the Artist submitted to Biograffairs be removed immediately and retained for our future use.
I’d again like to express my gratitude for being assigned these (and hopefully future) duties, for your trust in my abilities, and for your wonderful mentoring and guidance. While this early draft of my findings and opinions requires more polishing and investigation before reaching the level of perfection you require, be assured that I am and will remain open to any suggestions or directions you provide in order for me to satisfy your requests.
Respectfully submitted,
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