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Jasper johns broad11/16/2023 ![]() ![]() Everything else he’s done in his 60-plus year career came after that salvo and while his later incursions into the sculpture/painting fray were arguably more engaged with art history and by no means limited in concept, style or medium to their sphere, the indelible impact of those early paintings secured his legacy in American visual culture - in a way that not only still resonates, but has endured long enough to be coming back around with a fresh context. Jasper Johns showed his first Target and Flag paintings at Leo Castelli Gallery in 1958, when he was just 28 years old. Then, with inviolate curve, forsake our eyes ![]() Shedding white rings of tumult, building high The seagull’s wings shall dip and pivot him, … How many dawns, chill from his rippling rest Jasper Johns, Target, 1961, Encaustic and collage on canvas, 167.6 x 167.This is produced in partnership with The Broad, home to the 2,000 works of art in the Eli and Edythe Broad collection, which is among the most prominent holdings of postwar and contemporary art worldwide, and presents an active program of rotating temporary exhibitions and innovative audience engagement. Right: Jasper Johns, Watchman, 1964, Oil on canvas with objects (two panels), 85 x 60 1/4 in, Art © Jasper Johns/Licensed by VAGA, New York, NY Broad Collection, Art © Jasper Johns/Licensed by VAGA, New York, NY. Left: Jasper Johns, Untitled, 1975, Oil and encaustic on canvas (four panels), 127.32 x 127.32 cm, The Eli and Edythe L. Broad Collection, Art © Jasper Johns/Licensed by VAGA, New York, NY Jasper Johns, Untitled, 1992–94, Encaustic on canvas, 199.4 x 300.7 cm, The Eli and Edythe L. © 2017, Digital image, The Museum of Modern Art, New York / Scala, Florence Encaustic on canvas, 190.5 x 127 cm, Museum of Modern Art, New York Art © Jasper Johns/Licensed by VAGA, New York, NY. Private collection Art © Jasper Johns/Licensed by VAGA, New York, NY. Oil on canvas with broom, sculptural towel, stretcher and cup, 182.9 x 92.5 x 11.4 cm. Roberta Bernstein, Joanne Heyler and Ed Schad, The Broad, 221 S. The works of the 1990s built on the increasing complexity of subject and reference, and by the early 2000s, Johns had embarked on the pared down and more conceptual Catenary series which, along with other recent works, shows the rich productivity and vitality of this late phase of his career. ![]() From this time, Johns increasingly incorporated tracings and details of works by other artists, such as Matthias Grünewald, Pablo Picasso and Edvard Munch. His work continued to evolve throughout the 1980s as he introduced a variety of images that engaged with themes involving memory, sexuality and the contemplation of mortality. During this time, Johns began to explore printmaking and is now one of the most celebrated printmakers today. In the 1960s, he added devices within his works, including studio objects, imprints and casts of the human figure, while works from the 1970s are dominated by abstract “crosshatchings”. Through his groundbreaking paintings and sculptures, Johns charted a radical new course in an art world that had previously been dominated by Abstract Expressionism. His use of accessible and familiar motifs established a new vocabulary in painting as early as the 1950s, his treatment of iconography and the appropriation of objects and symbols made the familiar seem unknown through the distinctive, complex textures of his works. The exhibition reveals the continuities and changes in Johns’ work throughout his career. With loans from dozens of Museums and Private Collections from around the world, including significant works from the Broad Collection, the exhibition traces the evolution his wide-ranging practice through a series of thematic chapters, featuring 120 of his most significant paintings, sculptures, prints and drawings. The exhibition “Something Resembling Truth” at The Broad in Los Angeles is the first full survey of Jasper Johns’ work in more than 20 years in the United States. Not only did these paintings begin Johns’s successful dismantling of modern art through his ironic analysis of structures and rituals, but they also became the innovative new ground on which a generation of painters and sculptors made their work. ![]() Jasper Johns’s groundbreaking exhibition at the Leo Castelli Gallery (20/1-) of his famous target and flag works changed the current of New York painting and had an extraordinary impact on contemporary art. ![]()
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