Written & Photographed by Kenn Sava (except *)

Art in NYC, 2021, Part 1-

Robert Rauschenberg and Jasper Johns. Or is it Jasper Johns and Robert Rauschenberg? Who came first? Mr. Johns said, Mr. Rauschenberg “was the first person I knew who was a real artist (i.e. a working artist)¹.” At the time, Jasper Johns was working at the Marlboro Bookstore.

Contemporary Art starts here. Jasper Johns seen in his Pearl Street studio in 1955, with two of the most important early works in Contemporary Art- the first Flag Painting, 1954-55, and Target with Four Faces, 1955. At the time, Robert Rauschenberg had an apartment/studio upstairs. *Photo by George Moffet from the MoMA Jasper Johns: A Retrospective catalog, p.125.

Still, it was Jasper Johns who came to acclaim first when in 1957, Leo Castelli visited his Pearl Street studio, seen above, saw his work and offered him a solo show the following January. The rest is history. In 1959, Time Magazine said-

“Jasper Johns, 29, is the brand-new darling of the art world’s bright, brittle avant-garde. A year ago he was practically unknown; since then he has had a sellout show in Manhattan, has exhibited in Paris and Milan, was the only American to win a painting prize at the Carnegie International, and has seen three of his paintings brought for Manhattan’s Museum of Modern Art.” ².

For my part, I was so taken with Robert Rauschenberg’s work that I was slow in getting to Jasper Johns. Over the years, his work has spoken to me more and more, to the point of shouting to me now. Messers Johns & Rauschenberg eventually became romantically involved only to have it end in 1961. At this point, almost 70 years since the Photo above was taken, all that really matters for the rest of us is that both have created two of the most important bodies of work of our time.

Happy Birthday, Jasper Johns! The Artist cutting an Ale Can Birthday Cake on his 90th birthday, May 15, 2020. *Unknown Photographer.

Jasper Johns: Mind/Mirror is an early candidate for the show of the decade. With around 500 pieces, it’s so vast it’s split between two major museums simultaneously- the Whitney Museum of American Art, and the Philadelphia Museum. Scheduled to coincide with the Artist’s 90th birthday on May 15, 2020, its opening was unfortunately delayed due to covid until September 29, 2021. Still, it’s a stellar 90th Birthday present. Having visited the Whitney half about 10 times, in my opinion, it ranks with the finest shows yet mounted in their new building- Frank Stella, Vida Americana, and Julie Mehretu. It’s brilliantly conceived & laid out and very thoughtfully & intelligently installed.

Roll up! It just so happens this bus, the M14, will take you to the show, among other places…

There have been some important, major, Jasper Johns shows to this point including the 1996 Jasper Johns: A Retrospective at MoMA, Jasper Johns: Something Resembling Truth, at the Royal Academy, London in 2017, and previous large shows at the Whitney & Philadelphia Museums. Yet, given the long-standing relationships Mr. Johns has had with both of those institutions, and the large holdings of his work they each have, I wonder if there will EVER be a more comprehensive look at the work & career of this now legendary Artist, especially with his involvement. As a result, Jasper Johns: Mind/Mirror is something of a perfect storm in an imperfect time of a show. Though I have only seen the Whitney half (and the rest in the fine Jasper Johns: Mind/Mirror catalog, the only place where you can see the entire show) , it still ranks among the great shows I’ve seen in the past decade including Michelangelo: Divine Draftsman & Designer and Kerry James Marshall: Mastry. Also, consider this- Imagine being the curator of the largest Jasper Johns show ever, then being told you only get to mount half of it in your institution! HOW do you divide an Artist’s career in half, and make it cohesive particularly to a discerning Art audience like NYC, while not shorting the equally discerning Philadelphia Art audience?– or vice versa?

Off and running. The exhibition’s lobby contains 39 Paintings, Drawings & Prints that range over his entire career arranged chronologically, and includes a number of very well-known works.

From the evidence I have right now, having seen the NYC half and the Mind/Mirror catalog , they’ve done an extraordinary job. Both halves are full of important pieces and rarely seen supporting works. The show is broken down into themes, which follow the chronological arc of the Artist’s career, which are then divided in half between the two locations and arranged into rooms by theme. Somehow, a visit to one doesn’t leave you with an overriding feeling of missing too much. Yes, if you have followed Mr. Johns career and you go to the Whitney you’ll find yourself looking for his first Flag, 1954-5, or Untitled, 1972, both of which are on view in Philly, but what IS here more than makes up for it. Time and again I found myself surprised that such and such a work WAS here. Not only that, more often than not, it is so thoughtfully displayed that there’s very likely supporting pieces nearby which shed completely new light on it. A good example of this is the wonderful gallery devoted to one of his most fascinating pieces, According to What?, 1964, which was surrounded with three walls of related work that reveal how much each detail in According to What? means to the Artist and how much thought and planning went into it. 

According to What?, 1964, Oil and objects on canvas. This is one of his works that can be seen as a “summing” up of where he was at that point, coming on the heels of Retrospectives at the Jewish Museum, NYC, and the Whitechapel Gallery, London (which would happen, again, after his MoMA Retrospective in 1996. It’s full of objects that he would reference in other works, which surround it in this gallery. It’s also a “tribute” to Marcel Duchamp, with a copy of his Self-Portrait hanging down on the left on the panel that is usually closed when this piece is seen.

Having said all of that, there is a somewhat basic conundrum to consider. Seeing ONE work by Jasper Johns leaves the exact same feeling as seeing, approximately, 250 in each half of this show, or all 500 for that matter: What’s going on? What is it “about?”

Installation view of parts of two of the surrounding and supporting walls. The series of Prints on the left isolate elements of the Painting, which brings the viewer back to study each in the larger work. There is another half of this gallery behind me.

Looking at a few or a few hundred begins to shed light. At the age of 24, in the fall 1954, Jasper Johns destroyed all of his work in his possession ³. He wiped the slate clean (something he would do again, non-destructively, after the MoMA Retrospective in 1996). Right from the earliest work he then created using “things the mind already knows,” he said of the flags, targets, numbers, etc. he featured resulted in pieces the viewing public immediately had a way “in to” at a time of densely personal Abstraction that often lacked one. He created multiple pieces with each object around the same time, then suddenly, one would return years, even decades, later. They became parts of his own language. Symbols. Stand ins. Of what? That’s up to Mr. Johns and each viewer to decide. Thus far, that’s kept viewers and the Art world busy for over 6 decades.

Three Flags, 1958, Encaustic on canvas.

“Jasper Johns is an American painter, sculptor and printmaker whose work is associated with abstract expressionism, Neo-Dada and pop art.” Wikipedia.

There, in one sentence spotted on a search result page is why I avoid Wikipedia. Mr. Johns’s early work is the antithesis of Abstract Expressionism! He and Robert Rauschenberg set out to do their own thing in the face of the all-encompassing tide of AbEx that was at its zenith when they began. To this end, Mr. Rauschenberg even famously erased a Drawing by Willem de Kooning, one of the most prominent of the first wave of AbEx Painters. Jasper Johns’s stated creed was “When I could observe what others did, I tried to remove that from my work. My work became a constant negation of impulses.⁴” “I was anxious to clarify for myself and others what I was⁵.” As for “Neo-Dada,” he, like countless others, was influenced by Marcel Duchamp AFTER he saw his work in 1957 and then met him circa 1958-9. But, people “associated” his work with Duchamp’s beginning in 1957, when he had never seen it!

White Flag, 1955, Encaustic, oil, newsprint, and charcoal on canvas. His second and largest flag, on loan from The Met.

Yes, his post-1954 early work center around familiar objects that he has turned into Paintings or Sculpture, his “vocabulary” of elements “the mind already knows” famously include the American Flag, targets, numerals, words, ale cans, Savorin cans and string. yet I don’t see them as “pop,” and I don’t consider Mr. Johns (or Robert Rauschenberg or James Rosenquist for the matter), “pop” Artists, though I know some do. Flags, targets and numbers are not soup cans or Brillo boxes. (His Ale Can Sculpture resulted from a dare, so I read it somewhat tongue in cheek.) His Savorin can Sculpture and Prints are based on the can and brushes in his studio. The wall card makes the case that the Savorin can and paint brushes are “stand-ins” for the Artist. Again, not “pop.” This is interesting because his “object” based work of the 1950s allowed him to remain detached. “I don’t want my work to be an exposure of my feelings,” he said around 1977 ⁶. Over time that has seemed to change, but looking for specifics gets tricky.

A gallery full of his Savorin can Sculpture, 1960, and Monotypes from the 1970s and 80s he made of the object on the 4 surrounding walls. He used a Savorin can as a paint brush holder in his studio. Not sure that makes it “pop.”

As you walk through the show you’ll see expressive passages in Paintings that are a hallmark of AbEx (as in According to What?), but rarely entire Paintings (there are a few), and these were done after the heyday of the first wave Abstract Expressionist Painters. These passages don’t define him or any of his work, in my view, especially given his early work stood diametrically opposed to theirs. It’s really one technique among the very many Mr. Johns uses. As time has gone on, Jasper Johns has shown more interest in Art history, and numerous Artists, like Picasso, Leonardo, Duchamp and Edvard Munch, have “appeared” in his work. As I mentioned in my piece on MoMA’s Cézanne Drawing show, which included a dozen works from Mr. Johns’s collection, he has amassed a world-class Art collection, demonstrating impeccable taste in his acquisitions, that is fascinating in its breadth. Whatever his initial influences were, from the beginning with Flag, 1954-55, Jasper Johns’s work has looked like no one else’s. In my view, that Wikipedia page should read- Jasper Johns’s work is associated with Japer Johns.

One of the most extraordinary works of the 1950s. Target with Four Faces, 1955, Encaustic on newspaper and cloth over canvas surrounded by four tinted-plaster faces in wood box with hinged front.

Another fascinating early work is Target with Four Faces, 1955, which contains 4 heads cut off at just below the eye. They all appear to be male. The piece has a door that can be lowered blocking the faces from view. And, there it was, on loan from MoMA, appropriately on the first wall in the first gallery. A shot over the bow of the Art world in 1955, and today. I came away believing that if Jasper Johns had never made another work after it, Target with Four Faces was enough to seal his stature.

Detail. I was told by a Whitney staffer that the heads were cast from four people in his studio. Note the hinged door above them, which when closed, gives the work an entirely different effect. Also notice the amount of work that went into placing the heads just so. Standing to the side reveals that the tip of the noses must be right up against that door when it’s closed.

Either way, they can’t see what is going on in front of them. Are they present while someone is being targeted, but unseeing? Or, are they the ones with the target on them? It’s easy to read things into them, including Mr. Johns’s fellow gay men being targets, or the public being blind to the “targeting” of others. What about the prominence of their noses, or their closed mouths? Or…..? It’ll say something else the next time I look at it.

One of my favorite elements of Jasper Johns’s early collages are when the underlying material, often newspapers, comes through- either intentionally or through age. In this marvelous very small Flag from 1965, Encaustic and collage on canvas, 7 3/4 by 11 1/4 inches, it’s hard to tell which is the case, particularly with the row of faces to the right. Included in a stunning gallery at the heart of the show of small works from throughout his career.

But, fortunately for the world, he has continued to create. For 68 more years, so far! His Flags raise similar wonder. Does that they were Painted by a gay man in the 1950s living in a country with harsh stereotypes against him and his kind enter into it? A yearning for a Flag that stood for all? For me, anyway, it’s hard to see either of these pieces and not wonder about these things. Of course, as you move through the show one thing becomes quickly apparent. In the Art of Jasper Johns virtually nothing is THAT simple. 

Untitled, 1992-5, Oil on canvas, 78 by 118 inches.

After these early “objects” and object based works, in the early 1960s, Mr. Johns’s work becomes something of a “non abstract form of abstraction,” as the late Kirk Varnedoe, curator of the MoMA Johns Retrospective called it⁷, where objects and symbols become elements and not the sole subject. Was this done to subvert attempts at “reading” his Art?

The Seasons, 1989-90, Acrylic over intaglio on paper. That figure is reputed to be the Artist’s. On the terrific installation of this show- While this might seem a small detail, I can’t recall ever being in a show where virtually NONE of the pieces suffered terribly from glare. Here, I’m standing directly in front of  The Seasons and there is no reflection. Oh, if only other museums (and galleries) would see what a huge difference it makes it might help persuade them to pay the considerable current cost for glare-free acrylic glazing on pieces with glazing.

In the 1960s his work turned to more private imagery and symbols as opposed to the well-known objects, like Flags and targets. In works like According to What? his use of them reaches a crescendo, and these continued for some years until he wiped the slate clean, again, and began his Cross-hatched period. Things seem to build to another crescendo, like The Seasons, above or Untitled, 1992-94, which led up to his MoMA Retrospective, which would change everything.

Catenary (I Call to the Grave), 1998, Encaustic on canvas with wood and string. After the MoMA Retrospective, Mr. Johns stripped his canvases bare and began to address aging and death in the Catenary series, which numbers 19 Paintings, of which this one never fails to stir me, 55 Drawings and 6 Prints.

The MoMA Retrospective in 1996 caused the Artist to take stock of where he was and led to him drastically changing course. He wiped the slate clean, again. By that time, his work had grown very complex, but now his work emptied. His focus turned to the eventuality of death. This resulted in his extraordinary Catenary series, 1998, and has continued to be (one of) the overriding themes of his work to this day. 

The remarkable Farley Breaks Down 2014, Ink and water-soluble encaustic on plastic. I was stunned when I first saw this in 2019. A work without precedent in Jasper Johns’ enormous output created at 84. The Whitney wisely acquired it.

In 2019 I happened in to Jasper Johns: Recent Paintings & Works on Paper at Matthew Marks Gallery and was frankly overwhelmed when I saw a series of works titled Farley Breaks Down. I’d never seen anything like them, typical of Jasper Johns, yes, but even in his long and productive career they stand alone. I wrote about the show here. Just prior to these there are works in ink and water-soluble encaustic on plastic, but with this subject, Mr. Johns has reached an entirely new level. In 1965, LIFE Magazine Photographer Larry Burrows created a series of Photographs following a helicopter crew, Yankee Papa 13, on a mission in the Vietnam War. During it, one crew member was killed and another wounded. The last Photograph in the series shows Cpl. Farley back at the base breaking down. A few years later Larry Burrows was killed in another of these helicopter missions. It is this image that Jasper Johns chose to interpret. Jasper Johns did 2 years in the Army during the Korean War based in South Carolina and Japan. Still, exactly why he chose to create this series of works in his 80s is up for conjecture.

Detail of “Farley.”

Is it coincidence that over the years, Mr. Johns has lost his entire circle of fellow Artists- Robert Rauschenberg, Merce Cunningham, Morton Feldman and John Cage among them? The series is remarkable both for its incredible power and melancholy (which is not new to his work), as well as it’s stunningly beautiful flowing technique. It’s almost like these pieces are created with colored tears. Yet here, loss is the subject, and for the first time in his work, it’s presented almost nakedly.

A half gallery of dark works created after the breakup with Rauschenberg in 1961 (except for the work on the far left and the sculpture in the middle, including Liar, in the facing left corner.

There is also the pain of another kind of loss. The loss of romantic love. While I have no idea what Jasper Johns’s romantic life has been like, the second part of the first gallery is devoted to the searing works Mr. Johns created after his relationship with Robert Rauschenberg ended in 1961. The visual evidence is overwhelming that it had a devastating effect on him. After these, there is silence in his work where romance might be concerned. He shows deep affection for friends and those he admires, but there is never an expression of romantic love. This, also, is rare in Art⁸.

Recent Jasper Johns. Untitled, 2020, Intaglio on Magnani Insisioni paper. This piece was on view in both the Matthew Marks & Whitney shows.

As if the Whitney & Philadelphia Museums shows weren’t enough Jasper Johns there was also a remarkable show of his most recent work coinciding with the opening of JJ:M/M, Jasper Johns: New Works on Paper at Matthew Marks Gallery!

Untitled, 2021, Acrylic and graphic over etching on paper. Different, as ever, these works emphasized the cosmology theme which has appeared in some earlier works. The detail in these is both subtle and remarkable. The show consisted of a wall of these, facing a wall of Drawing based works like Untitled, 2020, above with stick figures.

Having seen upwards of 300 of his pieces between the two NYC shows two things stand out for me are- first, Mr. Johns incredible intellect. As you walk through the show you begin to notice that Jasper Johns does nothing- including speak, without very carefully considering what’s going to come out. At first glance some of his pieces look improvised, until you see a carefully crafted Drawing or other supporting pieces in which every detail has been carefully rendered, belying the careful consideration and the large amount of work that went into them. And this is continued over a seemingly endless body of work over 65 years of continually doing something different.

Diver, 1962-3, Charcoal, pastel and paint on two sheets of paper mounted on two adjoining canvas supports, 7 FEET 2 1/2 by 71 3/4 inches!

Second, I haven’t realized how much the anguish of loss is a central theme of his work. This includes the thought of facing one’s own aging and death. For such a private man who’s work is often so dense as to defy understanding, he has repeatedly found his own unique ways of expressing it powerfully. Though each section (of both the NYC & Philly halves ) of Jasper Johns: Mind/Mirror is titled, loss and death are not among them. They are the unstated central themes of a good deal of his work, which continues through his latest work shown at Matthew Marks this past fall.

In the final gallery, along side 4 pieces from the remarkable Farley Breaks Down series, is this Painting, similar to the pieces lining the west wall of the Matthew Marks show, like Untitled, 2021, shown above.

Slice, 2020, Oil on canvas. A close look at this large piece reveals amazing detail and depth, the background reminiscent of End Paper, 1976 and Céline, 1978.

As the wall card says, “…ungraspable…”

Picasso outlived, and outworked, all of the boxes his work was put in- the so-called “Blue Period,” the “Rose Period,” Cubism, etc., etc. He did this by simply being himself. His Art changed as he changed. Jasper Johns, who has outlived all his contemporaries, was, perhaps, the first Artist to be lumped into the “Contemporary Art” box in 1958. Still going strong at 91 in 2022 as the Art world is morphs into whatever is coming next, Mr. Johns career has been one long continuous model for Artists- “When I could observe what others did, I tried to remove that from my work,” which has led to 68+ years of fresh ideas that point the way to the future.

Flag Above White With Collage, 1955, Encaustic and collage on canvas. Mr. Johns has used encaustic (a mixture of hot wax and paint) continuously throughout his career, one of the very few to use it so frequently, if not the only one, among major Artists. It is used in most of the works in the show.

It turns out that Jasper Johns: Mind/Mirror is not the only great and important show currently up in the Whitney this fall/winter! Since I sub-titled this piece “Art in NYC, 2021, Part 1,” Part 2 will look at it.

*-Soundtrack for this Post is “I Don’t Want to Be Your Shadow,” by the Psychedelic Furs, from Forever Now, 1982, or “My Life is a Succession of People Saying Goodbye,” by Morrissey from You Are The Quarry, Extended Edition.

BookMarks-

With a career spanning a whopping 68 years(!), and counting, among the longest in Art history, you’d expect there have been a LOT of books published on Jasper Johns, and you’re right. There are. I see books I”ve never seen before each time I look. The latest being a catalog for a show on Jasper Johns and Edvard Munch (the book with the orange spine, above)! Among them, a few that I’ve seen are particularly recommended-

Jasper Johns: Mind/Mirror, Philadelphia Museum/Whitney Museum/Yale-  Though it’s close to 4 pounds, it’s wonderfully succinct and the best place to get an overview of Jasper Johns’s work over his amazingly long career up to 2020. The text accompanying each chronological section is also concise, remarkably distilling voluminous information down to a few pages, though I found the essays hit or miss. The book is the only way to see the whole show besides traveling to both museums (where it is only up until February 13, 2022). Highest recommendation for those seeking one Jasper Johns book with the most and broadest range of his Art in color.

Jasper Johns: A Retrospective, Museum of Modern Art- The catalog for the landmark Johns show in late, 1996 to early 1997 with a fine essay by curator Kirk Varnedoe, is a thorough look at his work up to 1996. In my opinion, it remains the finest reference on Jasper Johns due to its comprehensive 250 page Chronology and Plates section which goes up to the end of 1995. It’s also of ongoing importance in the history of the Artist when you consider that having this Retrospective had such an impact on the Artist that it caused his work to drastically change after and since. The immediate result was the extraordinary Catenary series, though all of his work since bear the hallmarks of that change. Here is a terrific record of his work up to that point that includes many illustrations. A model exhibition catalog that Mr. Johns designed the endpapers for. Essential for the Jasper Johns fan.

Jasper Johns: Redo an Eye, Wildenstein- A 300+ page look at the work of Jasper Johns that provides a comprehensive look at the Artist’s Art over his entire career up to about 2018, and one of the few to cover his later work. Author Roberta Bernstein says she has spent much time with Mr. Johns over the past 50 years, in addition to focusing on studying his Art. As a result, the book provides numerous insights. The most comprehensive overview currently available, it’s also available as Volume 1 of the Jasper Johns: Catalogue Raisonné of Painting and Sculpture, listed further below. Includes many illustrations, though in smaller sizes then the MoMA Retrospective, above, or the Whitney book, which are meant to illuminate the text since it originally served as the introduction to the Catalogue Raisonné, which has the large size reproductions. Recommended for those who want to dive deeper into Jasper Johns.

Jasper Johns: Catenary, Matthew Marks Gallery- (The book with the blue spine in the bookshelf pic with the string appropriately hanging down from it.) Matthew Marks Gallery has shown the Artist for many years, and has often published very well done and beautiful catalogs for their shows. Each is worth seeking out. Among them, I’ll highlight two here. Published to accompany the show of the same name in 2005, this was the only opportunity to date to survey this exceptional body of 80 later works which was the result of the Artist’s reaction to the aforementioned MoMA Jasper Johns: A Retrospective. They center around aging and death, each of which is illustrated in color here. It includes a fine essay by Scott Rothkopf, the co-curator of Jasper Johns: Mind/Mirror. It’s also beautifully published by Steidl. Out of print but not expensive.

Jasper Johns: Recent Paintings and Works on Paper, Matthew Marks Gallery- Published to accompany the unforgettable show of the same name in 2019, a NoteWorthy Show, which shows yet another new side of the Artist’s work. Featuring the extraordinary Farley Breaks Down series along with a number of other compelling recent works, with over 60 illustrated here. I was stunned when I saw the Farley pieces. They seemed to be without precedent- both in Johns’s work or that of any other. Both books are highly recommended to those interested in John later & current work.

For serious study & research, there is the Jasper Johns: Catalogue Raisonné of Painting and Sculpture, a 5 volume set that currently trade at big discounts from its $1,500.00 list price. I can’t help but wonder if this is because they are already out of date since Mr. Johns has continued to create prolifically since it was published. It only goes to 2014. Then there is the Jasper Johns Catalogue Raisonné of Drawing set published in 2018 and the Jasper Johns: Catalogue Raisonné of Monotypes, collecting his unique prints to about 2018 (like the Savorin can Prints seen above).

NighthawkNYC.com has been entirely self-funded and ad-free for over 7 years, during which over 275 full-length pieces have been published. If you’ve found it worthwhile, you can donate to keep it going & ad-free below. Thank you!

Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited.
To send comments, thoughts, feedback or propositions click here.
Click the white box on the upper right for the archives or to search them.
For “short takes” and additional pictures, follow @nighthawk_nyc on Instagram.

Subscribe to be notified of new Posts below. Your information will be used for no other purpose.