At the pinnacle of Abstract Expressionism, then 24-year-old Jasper Johns covered an entire canvas with a painted version of the American flag, and altered postwar American art forever. In just one work, a work which hung on the wall both like any other flag and like any other abstract painting, Johns had summed up the positions of Abstract Expressionism and European Concrete Art, and had pointed the way for both geometric hard-edge painting and American Pop Art. Nevertheless, Johns cannot be reduced to this one, iconic artwork. With a view toward revealing the complexity and grace of his oeuvre, this book presents oil and object paintings, and drawings from the estate of the artist, and allows a focused view onto the pictorial workshop and world of ideas of Jasper Johns.
Loans from the Artist
Author: Jasper Johns,Robert Rosenblum,Verena Formańek,Fondation Beyeler
Publisher: Hatje Cantz Pub
Category: Biography & Autobiography
Text by Carolyn Lanchner.
Author: Carolyn Lanchner
Publisher: The Museum of Modern Art
At a time when the dominant mode of painting, Abstract Expressionism, emphasised expressive drama through bold brushwork and largely abstract compositions, Johns’ paintings of the American flag, targets, numbers and the alphabet demonstrated a decided departure from convention. Despite being painted with obvious care, they seemed emotionally reticent, cool and quiet, far from the emotional fireworks then fashionable. “It all began... with my painting a picture of an American flag. Using this design took care of a great deal for me because I didn’t have to design it. So I went on to similar things like the targets - things the mind already knows. That gave me room to work on other levels. For instance, I’ve always thought of painting as a surface; painting it in one color made this very clear. Then I decided that looking at a painting should not require a special kind of focus like going to church. A picture ought to be looked at the same way you look at a radiator.” Unlike most artists’ statements in New York during the 1950s, Johns’ remarks contained none of the familiar talk of doubt and angst, and his selection of subject matter appeared deliberate, thoughtful, and far removed from emotional attachments and desires. To younger artists, his art seemed not so much cold and unfeeling as clear-eyed and honest after the excesses of Abstract Expressionism. Furthermore, in selecting recognisable subjects, Johns seemed to reject prevailing abstract modes of painting, yet his subjects themselves - flags, targets, numbers - each possessed a vital characteristic of classic abstraction, namely, a flatness rendering them all but indistinguishable from the picture plane itself. This book underlines how Johns’s work made the polarity between abstraction and representation that had dominated debates about modern art for decades seem suddenly obsolete, opening up other ways of thinking about art’s relation to the world. It also tries to understand why, since his first exhibition at the Leo Castelli Gallery at the age of twenty-seven, he has remained one of the major artists of the contemporary artistic scene.
Author: Catherine Craft
Publisher: Parkstone International
At a time when the dominant mode of painting, Abstract Expressionism, emphasized expressive drama through bold brushwork and largely abstract compositions, Johns’ paintings of the American flag, targets, numbers and the alphabet demonstrated a decided departure from convention. Despite being painted with obvious care, they seemed emotionally reticent, cool and quiet, far from the emotional fireworks then fashionable. This books underlines how Johns’ work made the polarity between abstraction and representation that had dominated debates about modern art for decades seem suddenly obsolete, opening up other ways of thinking about art’s relation to the world.
Author: Catherine Craft
Publisher: Parkstone Press
Jasper Johns (b. 1930), one of today's most acclaimed and influential artists, is rarely considered in relation to monochromatic art. Yet single-colour experimentations have figured prominently in his productions since 1955, and within that significant subset of his work, the majority of monochromes are grey. In fact, every one of his iconic, serialized forms has been articulated in grey. This elegant book, spanning Johns' full career, examines this singular preoccupation, presenting a revolutionary new understanding of and appreciation for the artist as an accomplished tonalist.
Author: James Rondeau,Douglas W. Druick,Metropolitan Museum of Art (New York, N.Y.)
Publisher: Art Inst of Chicago
a print retrospective
Author: Riva Castleman
Publisher: Museum of Modern Art
Edited by Diana Murphy. Essay by Mark Rosenthal. Foreword by Louisa Stude Sarofim.
drawings : the Menil Collection
Author: Mark Rosenthal,Jasper Johns
the print & the painting : September 14-October 15, 1972, the Emily Lowe Gallery, Hofstra University, Hempstead, Long Island, N.Y.
Author: Jasper Johns
The author begins this challenging monograph by probing Modernism's surfaces and subjects, its public and private meanings, in order to establish Johns's importance as the modern allegorical artist in the years after Abstract Expressionism. Yet, Figuring Jasper Johns is not an essay that presumes to offer an instant interpretation. Rather, Fred Orton self-consciously constructs a "Jasper Johns" whose work is introduced and explained in three chapters, each of which addresses a specific picture or sculpture like Flag, Painted Bronze (Savarin) and Untitled 1992. These in-depth studies situate individual works in their social context as well as in Johns's oeuvre. Fred Orton's purpose is to get to terms with – and find terms for – a difficult and elusive body of work by one of the most important artists of the 20th century.
Author: Fred Orton
Publisher: Reaktion Books
Exhibition at the Jewish Museum
Author: Alan R. Solomon
Author: Jasper Johns,David Sylvester,Anthony d'Offay (Firm)
Publisher: Distributed Art Pub Inc
Author: Fred Orton,Jasper Johns,Penelope Curtis
An eloquent, accessible survey of the work of the iconic American artist
Seeing with the Mind's Eye
Author: Gary Garrels
Publisher: Yale University Press
Gathers drawings in watercolor, chalk, ink, pencil, and crayons by the Georgia-born artist, and discusses his work.
Author: David Shapiro,Jasper Johns
Publisher: Harry N Abrams Incorporated
A fusion of criticism and biography, this text offers new insight into the life and work of one of America's pre-eminent living artists.
Author: Jill Johnston
Publisher: Thames & Hudson
Author: Christian Geelhaar,Jasper Johns,Öffentliche Kunstsammlung Basel
Centering on the dutch wives, a double-panel encaustic-and-newsprint painting in the artist's signature 'crosshatch' motif, this catalogue explores the impact of print on the work of Jasper Johns. Also included are various prints and drawings that demonstrate the aspects of printmaking essential to Johns' work.
Publisher: Hatje Cantz Pub
A study of Pop art and metafiction which highlights the relationship between Alain Robbe-Grillet, a French novelist and cinematographer, and Jasper Johns, a renowned artist. This book shows how Johns's targets and Robbe-Grillet's writing subvert social codes and the observer's expectations in order to produce unexpected perceptions.
Alain Robbe-Grillet, Jasper Johns
Author: Jasper Johns
Publisher: Fairleigh Dickinson Univ Press