Target with Four Faces (1955) earmarks our collective and individual socio-political psyche. A crane was required to remove Map (1963), a large-scale encaustic and collage on canvas from the apartment of a private collector who loaned the work. Your reflection incorporates you into the exhibition, heightening the visceral experience. The curators incorporated subtle details to reinforce the overarching theme, such as building 90-degree angles with mirrored paneling to summon a kaleidoscopic gaze into Johns’ inner thoughts in the Mirror/Double gallery. Photograph by Jamie Stukenberg, Professional Graphics, Rockford, Illinois © 2021 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY. The Museum of Modern Art, New York gift of Mr. Encaustic and collage on canvas with objects, 29 3/4 ×. Jasper Johns, Target with Four Faces, 1955. We’re immersed in the subconscious of eminence. A vintage bathtub faucet on the lower left draws us in to find some calm amid the frenzy. Two distinct ceramic vases created by George Ohr and Judy Cousin to commemorate the Silver Jubilee of Elizabeth II are placed left of center on what appears to be a hamper or a laundry basket. Stenciled French words on an ominous red poster depicting a simple skull and warning about falling are cut off at the right edge and spill back over to the left side, alluding to human precarity. Colors, textures, text, and motifs tease the viewer, as the eye journeys further right to a monochromatic print by Barnett Newman from Jasper Johns’ personal collection. A monochromatic image of the Mona Lisa with her name boldly printed and attached with trompe-l’œil masking tape, as if to playfully underscore her unmistakable prominence in art history, sits flush to the right of the clearly delineated midline. What could be a black-and-white passport photo of legendary Italian-American art dealer Leo Castelli hovers in the upper left, adhered by trompe-l’œil thumbtacks. Sidney Kahn The Lauder Foundation, Leonard and Evelyn Lauder Fund the Sara Roby Foundation and the Painting and Sculpture Committee 84.6. Engel Purchase Fund the Equitable Life Assurance Society of the United States Purchase Fund The Sondra and Charles Gilman, Jr. Whitney Museum of American Art, New York purchase, with funds from the Burroughs Wellcome Purchase Fund Leo Castelli the Wilfred P. Encaustic and collage on canvas, 48 1/8 × 75 3/8 in.
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