Jasper Johns (1955) White Flag
[Encaustic, oil, newsprint, and charcoal on canvas], 198.9 x 306.7 cm, Metropolitan
Museum of Art, New York. © Jasper Johns
Jasper Johns is an American painter, printmaker and sculptor
whose close study and interest of philosopher Ludwig Wittgenstein infuses Johns’s
work with a mode of mediation. Within Johns’s sculpture lies a silence, the
objects are mute and the paintings are a language communicating with a melted
wax surface which sets the past in the present to seal it for the future.
Johns’s canvases act almost as a soundboard for emotion to relay
voices of former times, permeating the canvas to create a real-world dialogue. The
restricted achromatic palette is a salient feature of Johns’s work adding to
the pictorial language which battles with a conscious sense of control within
the ambiguities inherent within abstraction. Johns’s engagement with memory serves
almost as a recurrent motif working with an iconography highlighting a
repressed sense of expression. However Johns’s work swerves away from Abstract
Expressionism and into its antithesis, refracting Abstract Expressionisms
sublime gestural brushstrokes derived from deep mediation to create a structured
syntax of layers of found imagery.
There is a strong suggestion of a presence and absence
embedded within the tangible objects which chart evidence of existence. Johns’s
collaged newspaper surface serves to exist as a record of yesterday’s news as
well as to delineate the surface to remould the canvas to form a backdrop and
window to the past. Hiding the memory of images from the past, Johns describes
the past and paints on top of it, to paint a picture of the present. The perceptual
qualities of Johns’s painted and collaged surface raises questions about the
very existence of painting, taking it out of its comfortable reign on a two
dimensional surface and into the dimensions of an un-easy present day.
These ready-made or
found newspaper clippings add a
dimension to Johns’s work that an artist cannot physically create. The
clippings offer snippets of history that simply can’t be falsified with paint.
Johns’s paintings therefore don’t attempt to mimic, replace or even rejuvenate
reality, it is reality, a window to yesterday’s news and yesterday’s world.
Painting the past in a present day silence on a tactile surface set in an often
restricted achromatic palette concurs with Bruce Nauman’s view that; “Thought
is not coloured. Colour adds nothing to thought. Thought is black, white and
gray.”
Jasper Johns (1960) Flashlight [Bronze
and glass] actual size. Walker Art
Center, Minneapolis © Jasper Johns & Walker Art Center
Constructing sculptures of everyday objects in actual size,
sets the objects into the appearance of verisimilitude. To further this sense
of truth to form, Johns’s paintings of; flags, targets and numbers are “things
the mind already knows” (Johns) and in a sense are ready-made. Numbers exist as
philosophically abstract entities within compositions extracting imagery from
its primary context and to recycle a context to exist now.
Jasper Johns (1960) 0 through 9 [Lithograph] 62.2 x 48.1 cm ©
2014 Jasper Johns
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