Jasper Johns (Temporis)

Jasper Johns (Temporis)

Catherine Craft

Language: English

Pages: 256

ISBN: 1844845575

Format: PDF / Kindle (mobi) / ePub

The book not only displays the artist's tremendous catalogue of artworks but also discusses both his influence within the art of the 1960s and later, and his personal and artistic relationships with other major artists from the period. Offering at once a retrospective of Johns's art and a portrait of the American artistic landscape over the past sixty years, this study allows the reader to experience both the historical and contemporary significance of one of their favorite artists.

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Eye suggestive of a displaced sense of perspective. Furthermore, Johns also created situations in which cast shadows and doubled objects result in richly ambiguous images. The bent letters of According to What, their painted echoes and their cast shadows create a veritable crisis in ascertaining what exactly is being shown, as is also the case with the traced and bent coat hanger in this painting and in Evian. Johns’s unconventional approach to space made it difficult for viewers to treat his

Johns has made. In fact, their general appearance seems closely related to the degraded image that is often the result of screenprinting; the image of the fork and spoon is a mottled, low-resolution ghost of the actual objects, and the paintings themselves tend to exhibit this quality throughout, resulting in works that for all their apparent simplicity seem to possess a sense of atmosphere and spatial ambiguity despite being, undeniably, painted surfaces. As noted in the previous chapter, Johns

a visual counterpart to the staccato repetitions of the clusters of diagonal marks in the left panel. The pieces of wood to which the casts are attached run at diagonals, and the casts are similarly positioned, a quality emphasised by the parallel contours of the fingers and toes in one cast and the feet crossed at the ankles in another. In turn, viewers are encouraged to look for correspondences between the crosshatch pattern and the pattern of flagstones, and the same is true of the flagstones

combination of processes brought questions of space, memory and perception into the realm of tactility; the lithographs represented the compositions of each of the four panels, while the embossing shifted these same compositions over one panel to the right. Thus, for example, the left panel with flagstones was embossed with the composition of the crosshatch panel, while the panel with the casts was embossed with that of the encaustic flagstones to its left, and the connection between the panel

subtle in its reference to Johns’s previous work, Winter’s surface is mottled with white spots suggesting a light snowfall – or usuyuki, the Japanese word that also provided the title for one group of the crosshatch compositions. These motifs also gain additional meanings in the context of the cycle of the seasons and its link with the cycle of life through Johns’s consistent use of his shadow in all four paintings. For Spring, Johns also included a tracing of a child’s shadow, thus suggesting

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