![]() ![]() Jasper Johns/VAGA/Artists Rights Society/Jamie Stukenberg/The Whitney Museum of American Art The artist often declines to discuss interpretation of his work, or the images that he reuses in his compositions. Johns has spent his entire career shifting viewers’ perspectives on the illusory quality of artmaking, contending with the picture plane and the nuance of reproduction. “As I’ve said before, the work is too familiar.” “I’m not very interested in exhibitions of my own work,” Johns told CNN over email. His latest retrospective, “Jasper Johns: Mind/Mirror,” is a massive dual-city show featuring hundreds of paintings, sculptures, mixed-media works and prints, with one half on display at the Whitney Museum of American Art in New York and the other at the Philadelphia Museum of Art (PMA). Another highlight of the exhibition includes Untitled, 1998, an intaglio printed with four colors that recalls the multi-panel paintings from the 1960s, complete with the colors spelled out across the surface with a compliment of handprints, areas of gestural strokes, and various enigmatic objects.At 91 years old, Jasper Johns is one of the most important living artists today, with auction sales worth tens of millions of dollars and a seven-decade career credited with changing the course of 20th-century art.īut the American artist has always been reluctant to engage with interpretations or even showings of his work, leaving curators to present it as they like – and viewers to reach their own conclusions. ![]() Fragment of a Letter continues Johns’ exploration of systems of meaning with a two-panel presentation of text rendered in the artist’s all capitalized, stenciled lettering paired with a translation of the letters and words presented by hands communicating in American Sign Language. Ten prints will be featured in the exhibition, including the recent intaglios Fragment of a Letter, Shrinky Dink 1-4, Within, and Bushbaby. Later, Johns turned to the handfed offset lithographic press and intaglio to capture various subjects, such as the seasons, everyday objects, and faces. Early lithographs included the 0 through 9 portfolio, Coat Hanger I, Flag I and Target. When the artist created his first project at Universal Limited Art Editions (ULAE) in 1960, he used lithography as the primary technique to render his imagery of number and targets. In addition to painting, printmaking has also played an important role throughout Jasper Johns’ career. After a series of groundbreaking exhibitions at Leo Castelli Gallery in the late 1950s and 1960s, Johns’ painting served as a crucial bridge between Abstract Expressionism and the later movements of Pop Art and Minimalism. Master printmaker Bill Goldston will give a talk about his thirty years’ collaboration with Jasper Johns on Saturday, March 2 nd at 2pm.Ī celebrated American painter for more than fifty years, Jasper Johns is recognized for his now iconic paintings that feature flags, targets, and numbers, as his artwork has been celebrated with important one-person exhibitions at the Whitney Museum of American Art, the National Gallery of Art, and a retrospective at the Museum of Modern Art in 1996.Īt first influenced by the dominating style of Abstract Expressionism upon his move to New York City in the late 1940s, Johns’ interaction with artist Robert Rauschenberg, composer John Cage and dancer/choreographer Merce Cunningham led to a complete change in his approach to painting. ![]() The show will be on view March 2 nd through June 1st in the Project Gallery and will open with an evening reception on Saturday, March 2nd from 6:00 to 8:00 p.m. Dallas – In partnership with legendary fine art prints publisher United Limited Art Editions, Talley Dunn Gallery is honored to present Jasper Johns: Circles and Squares, an exhibition that features lithograph and intaglio prints completed by the artist at ULAE in the past twenty years.
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