![]() ![]() "Jasper Johns’s groundbreaking work sent shock waves through the art world when it was first shown in the late 1950s.," states the exhibition webpage for Jasper Johns’s retrospective for 2021-22. ![]() This time, the artwork replaced her photo accompanying the extensive media coverage. Forty years later, "one million dollars" and Emily were reported nationally again, but this time as an art collector selling Jasper Johns’s Three flags to the Whitney Museum of American Art. 22.) Understood as partly a piss-take, it also understood that the diamonds were borrowed, presumably rented, for event and media / communications purposes. ( Pittsburgh Post-Gazette, 30 January 1940, p. Wire service photo of Emily Spreckels (later Tremaine) reportedly wearing one million in diamonds and stealing the press at the Beaux Arts Ball in New York, signalling her move up the society ladder. Jasper Johns, Target, 1961, Encaustic and collage on canvas, 167.6 x 167.MEET THE LADY BEHIND JASPER JOHNS’S THREE FLAGSĮmily Hall Tremaine, the American flag and "one million dollars" X 2Įmily & Three Flags | A Boy for Meg | Marilyn Diptych | Victory Boogie WoogieĮmily & Sensation | Hirst’s £50m diamond skull | Emin’s My Bed 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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