Length7h 7m
About this audiobook
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.
Audiobook details
GenreOther
Length7 hrs 7 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateMay 8, 2012
LanguageEnglish
Table of contents
1Jasper Johns
26The Changing Focus of the Eye
233 Ter – 33 Bis Mac Dinh Chi St.
27the eye.1
3List of Illustrations
28language and meaning and the relation of both to visual information.
4Acknowledgments
29The Freedom of Objects
5both a shock and a breath of fresh air.
30in work after work.
Show all chaptersShow less
6The Birth of an Artist
31The Changing Focus of the Eye
7objects themselves:
32Jasper Johns
8firms and warehouses.
33flag for a nation of forty-eight states that no longer exists?
9Being an Artist
34as much as the work.9
10Jasper Johns
35situation to the next.
11part of the work.
36The Changing Focus of the Eye
12the Self-Made Retrospectivewas more “authentic” than the other.
37Jasper Johns
13something possible for him as an artist:
38Changing Moods
14the box with the plaster cast.
39other’s company.
15quite specific to Johns:
40in these works.
16of its application.
41Jasper Johns
17very intimate situations.
42Johns and Rauschenberg:
18Jasper Johns
43The Artist and his Viewers
19that the viewer could share.
44a sound.
20matter and denial of conventional forms of self-expression.
45Jasper Johns
21Jasper Johns
46hanger in this painting and in Evian.
22Private and Public
47role of a viewer.
23Being an Artist
48Jasper Johns
24Jasper Johns
49for that matter, look.
25the artist himself.
50The Changing Focus of the Eye
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