DOCSLIB.ORG

Vt~ • He Moved to New York City When He Was 19 and Briefly Studied at a Well Uf Known Art School

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vt~ • He Moved to New York City When He Was 19 and Briefly Studied at a Well Uf Known Art School Three Flags by Jasper Johns done in 19~, the artist painted 3 separate flags using what is known as encaustic which is the use of wax and pigment on canvas. He attached each of them to each other to create a 3 dimensional object. This form of art is known as pop art- using familiar imagery from everyday life. It was acquired by the Whitney Museum in New York City in 1980 for 1 million dollars. Meet the Artist: Jasper Johns • He was born in 1930 in Augusta, Georgia, but grew up in South Carolina. He began drawing when he was 3 but had little exposure to art education. ~ vv~ Vt~ • He moved to New York City when he was 19 and briefly studied at a well Uf known art school. He became friends with other prominent artists of the day and together they began developing their ideas on art concepts. • He is best known for his "Flag," (1954-55) painting after he had a dream about a large American Flag. • Many images in his art are recognizable symbols and familiar objects that stand on their own design that don't need interpretation or have a hidden meaning or emotion. • He liked the simple design of objects like the American Flag, the alphabet, numbers or a map of the United States as these symbols are powerful on their own. • He carefully chose the subject matter for his art based on its simplicity, symmetry, and basic patterns. • His Flag series was what made him famous as an artist but he also worked with other mediums. Disscussion on Key Words: Repitition: Can someone explain repitition? When a pattern is repeated throughout the artwork. What is symmetry? When the object is placed to be proportional or balanced on either side of a center line. It also means that the same pattern is repeated exactly the same Possible Questions: o Do you see repetition in both flags? Where? o Is it symmetrical-are parts arranged in the same basic way on both side? o How many stripes are on the US flag? (thirteen alternating white and red stripes) o There are 48 stars, but there are 50 stars on today's flag, why the difference? (Alaska and Hawaii were not states yet) o How are these lines the same? How are they different? o Compare the star(s) on each flag. Why does the US flag have 50? Does it remind you of anything? o Does it make you feel anything? o Do you like it? Why/Why not? o What makes the Jasper Johns picture different from a real American Flag? Art Masterpiece ' "Three Flags" Today in Art Masterpiece, your child learned about Jasper Johns, an American Abstract Expressionist/Pop Painter and Sculptor. Jasper Johns was born in Allendale, South Carolina in 1930. He studied at the University of South Carolina and in 1952 went to New York to paint. "Be began painting familiar objects, but presented them in fresh visions--a flag of the United States, for example, or an archery target. Johns claimed that there was no symbolic reference in his work. Be also worked with motifs such as numbers, letters of the alphabet, and maps, increasingly with a richer quality of brushwork and pigment, and always with respect for the plane. John's fascination with the ordinary, commonplace objects of everyday culture is also found in a number of sculptures he made. In this, he ..• was extending the tradition established by Marcel Duchamp, who was one of the first to break down the barrier between the world of high art and that of everyday objects and experience." "[Johns] •.. was an important agent in redirecting tbe course of American painting away from Abstract Expressionism into Pop Art." Critical regard for his work is indicated by an article in The New York limes 29 October 1998, reporting the sale of Johns's White Flag painting to The Metropolitan Museum of Art in New York. The Met's director refused to disclose the price, but experts estimate the value at more than $20 million. Speaking of his famous American Flag series, the artist said, "Using the design of the American flag 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 target--things the mind already knows. That gave me room to work on other levels. Ambiguity and paradox are central to Johns's vision: things are not necessarily what they seem. Abstract qualities--texture, colour, drawing--are emphasized in a representational painting; ..." In other words, a piece of bread is not only a piece of bread or a reproduction of a piece of bread but also neither--a third object in its own right. .
Load more

Recommended publications
  • Mapping Robert Storr
    Mapping Robert Storr Author Storr, Robert Date 1994 Publisher The Museum of Modern Art: Distributed by H.N. Abrams ISBN 0870701215, 0810961407 Exhibition URL www.moma.org/calendar/exhibitions/436 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art bk 99 £ 05?'^ £ t***>rij tuin .' tTTTTl.l-H7—1 gm*: \KN^ ( Ciji rsjn rr &n^ u *Trr» 4 ^ 4 figS w A £ MoMA Mapping Robert Storr THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY HARRY N. ABRAMS, INC., NEW YORK (4 refuse Published in conjunction with the exhibition Mappingat The Museum of Modern Art, New York, October 6— tfoti h December 20, 1994, organized by Robert Storr, Curator, Department of Painting and Sculpture The exhibition is supported by AT&TNEW ART/NEW VISIONS. Additional funding is provided by the Contemporary Exhibition Fund of The Museum of Modern Art, established with gifts from Lily Auchincloss, Agnes Gund and Daniel Shapiro, and Mr. and Mrs. Ronald S. Lauder. This publication is supported in part by a grant from The Junior Associates of The Museum of Modern Art. Produced by the Department of Publications The Museum of Modern Art, New York Osa Brown, Director of Publications Edited by Alexandra Bonfante-Warren Designed by Jean Garrett Production by Marc Sapir Printed by Hull Printing Bound by Mueller Trade Bindery Copyright © 1994 by The Museum of Modern Art, New York Certain illustrations are covered by claims to copyright cited in the Photograph Credits.
    [Show full text]
  • Art Masterpiece: Three Flags, 1958 by Jasper Johns
    Art Masterpiece: Three Flags, 1958 by Jasper Johns Keywords: Symmetry, Repetition Symmetry: parts are arranged the same on both sides Repetition: a design that has parts that are used over and over again in a pleasing way. Grade: 1st Grade Activity: Painted Flags Meet the Artist (5 minutes): · He was born in 1930 in Augusta, Georgia, but grew up in South Carolina. He had little formal art education since there weren’t any art schools nearby. · When he moved to New York, he became friends with the prominent artists of the day. · In 1954, he had a dream that he painted a large American Flag. · He liked his art to be symmetrical, repetitious and minimalist. In other words, he wanted it to stand on its own and without the attachments of emotion. He liked the simple design of objects like the American Flag. · His Flag series made him famous as an artist. Possible Questions (10 minutes): • Do you see repetition in this picture? • Is it symmetrical? Are the parts arranged in the same basic way on both sides? • Describe the lines that you see... • What makes this picture different from a real American Flag? Property of Knox Art Masterpiece Revised 8/3/13 • What does our American Flag mean to you? Symbolism, liberty, freedom, pride. The American flag flies on the moon, sits atop Mount Everest, is hurtling out in space. The flag is how America signs her name. • Sometimes the Flag is hung at half-staff. Why? (To honor certain people who have died) • Who created the American Flag? Betsy Ross.
    [Show full text]
  • Art Masterpiece: Three Flags, 1958 by Jasper Johns
    Three Flags, 1958 Jasper Johns Keywords: Pop Art, Monotype, Print, Texture Activity: Monoprint on foil Keywords Defined: • Pop Art - Style of art made popular in late 1950's early 1960's. Much of it represented images of common commercial images and objects. • Monotype - A one-of-a-kind print made by painting on a smooth metal, glass, stone plate or other smooth surface and then printing on paper. The paper, often dampened, is placed over the image and either burnished by hand or run through an etching press. The pressure of printing creates a texture not possible when painting directly on paper. The process produces a single unique print, thus an edition of one, by using pressure to transfer the image onto paper. The Monotype is a mirror image of what was drawn onto the original surface. • Print - a kind of artwork in which ink or paint is put onto a block (wood, linoleum, etc.) which has a design carved into it. The block is then pressed onto paper to make a print (copy) of the design. • Texture – an element of art. The way an object looks as though it feels, such as rough or smooth. Meet the Artist: • He was born in 1930 in Augusta, Georgia, but grew up in South Carolina. He had little official art education since there were no art schools nearby. • When he moved to New York, he became friends with the prominent artists of the day. • In 1954, he had a dream that he painted a large American Flag. • He liked his art to be symmetrical, repetitious and minimalist.
    [Show full text]
  • “Just What Was It That Made U.S. Art So Different, So Appealing?”
    “JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig.
    [Show full text]
  • Flag(1954–55) in Late 1954 Jasper Johns Destroyed Virtually All of His
    Flag (1954–55) In late 1954 Jasper Johns destroyed virtually all of his previous work. He was twenty-four years old and had been living in New York since his discharge from the United States Army in May 1953. It was time, he remembers, “to stop becoming and to be an artist. I had a wish to determine what I was. what I wanted to do was find out what I did that other people didn’t, what I was that other people weren’t.” The impetus for the picture that launched his career came from a source that was uniquely his: “One night I dreamed that I painted a large American flag, and the next morning I got up and I went out and bought the materials to begin it.” Flag was one of several paintings that delivered a still- memorable jolt to the art world during Johns’s first solo exhibition, in New York in early 1958 at Leo Castelli’s new gallery. Of all the puzzling pictures, Flag’s cool, painterly appropriation of the Stars and Stripes attracted particular scrutiny. It was, wrote Robert Rosenblum, “easily described as an accurate painted replica of the American flag, but . as hard to explain in its unsettling power as the reasonable illogicalities of a Duchamp readymade. 4 Is it blasphemous or respectful, simple-minded or recondite?” 5 Flag 1954–55 (dated on reverse 1954) Encaustic, oil, and collage on fabric mounted 1 on plywood, three panels, overall 42 ⁄4 x 5 60 ⁄8" (107.3 x 153.8 cm) The Museum of Modern Art, New York.
    [Show full text]
  • Oral History Interview with Nan Rosenthal, 2010 June 28-July 12
    Oral history interview with Nan Rosenthal, 2010 June 28-July 12 This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Nan Rosenthal on 2010 June 28-July 12. The interview took place in New York, New York, and was conducted by Judith Richards for the Archives of American Art, Smithsonian Institution. This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project. Nan Rosenthal reviewed the first half of the transcript before her death and made corrections and emendations. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JUDITH RICHARDS: This is Judith Richards interviewing Nan Rosenthal on June 28 , 2010 in New York City for the Archives of American Art, Smithsonian Institution, disc one. So Nan, I'd like to start by asking you about your family background, certainly back to your grandparents and especially if you knew them and anything else you'd want to say. NAN ROSENTHAL: Let's see. They're quite different. They were all nonreligious, ethnic Jews. On my father's side, my great-grandfather came here in the 1880s or so. JUDITH RICHARDS: What was his name? NAN ROSENTHAL: [Laughs.] His name was Herman Rosenthal and he was a poet and a scholar of Slavic literature.
    [Show full text]
  • MODERN ART and IDEAS 8 1962–1974 a Guide for Educators
    MODERN ART AND IDEAS 8 1962–1974 A Guide for Educators Department of Education at The Museum of Modern Art MINIMALISM AND CONCEPTUALISM Artists included in this guide: John Baldessari, Joseph Beuys, Daniel Buren, Dan Flavin, Eva Hesse, Donald Judd, Yves Klein, Joseph Kosuth, Yayoi Kusama, Sol LeWitt, Gordon Matta-Clark, Robert Morris, Richard Serra, and Robert Smithson. TABLE OF CONTENTS 1. A NOTE TO EDUCATORS 2. USING THE EDUCATOR GUIDE 3. SETTING THE SCENE 7. LESSONS Lesson One: Serial Forms/Material Difference Lesson Two: Language Arts Lesson Three: Constructing Space Lesson Four: Public Interventions Lesson Five: Performance into Art 34. FOR FURTHER CONSIDERATION 36. GLOSSARY 39. SELECTED BIBLIOGRAPHY AND RESOURCES 44. MoMA SCHOOL PROGRAMS No part of these materials may be reproduced or published in any form without prior written consent of The Museum of Modern Art. Design © 2007 The Museum of Modern Art, New York A NOTE TO EDUCATORS This is the eighth volume in the Modern Art and Ideas series for educators, which explores 1 the history of modern art through The Museum of Modern Art’s rich collection. While tra- A ditional art-historical categories are the organizing principle of the series, these parameters N O are used primarily as a means of exploring artistic developments and movements in con- T E junction with their social and historical contexts, with attention to the contributions of spe- T O cific artists. E D U C A This guide is informed by issues that arise from the selected works in a variety of mediums T O (painting, sculpture, collage, printmaking, photography, and, significantly, works that tran- R S scend the traditional division of mediums), but its organization and lesson topics are cre- ated with the school curriculum in mind, with particular application to social studies, visual art, history, and language arts.
    [Show full text]
  • Jasper Johns and the Influence of Ludwig
    JASPER JOHNS AND THE INFLUENCE OF LUDWIG WITTGENSTEIN by PETER HIGGINSON B.A., University of British Columbia, 1972 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of Fine Arts We accept this.thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA July, 1974 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Depa rtment The University of British Columbia Vancouver 8, Canada ABSTRACT The influences upon Johns' work stem from varied fields of interests, ranging from Leonardo to John Cage, Hart Crane to Duchamp, Marshall McLuhan to Wittgenstein. The role that Wittgenstein's philosophy, plays has never been fully appreciated. What discussion has occurred - namely Max Kozloff's and Rosalind Krauss' - shows an inadequacy either through a lack of understanding or a super• ficiality towards the philosophical views. An in-depth analysis on this,, subject is invaluable in fully comprehending the ramifications of Johns' painting of the 60's. The intention of this paper is to examine Wittgenstein's influence and assess how his method of seeking out meaning in language is used by Johns in his paintings to explore meaning in art.
    [Show full text]
  • From Louise About Not Writing “Hoping”
    Excerpts from Some Historical Documents about Louise Lawler, Emily and Burton Tremaine and The Tremaine Collection, Arranged by Andrea Miller-Keller or “You’re going to love the thermostat next to the Miro.” Painting Toward Architecture/The Miller Company Collection of Abstract Art, 1948 (New York: Duell, Sloan and Pearce). Acknowledgments by Emily Hall Tremaine, Art Director, The Miller Company; Foreword by Alfred H. Barr, Jr.; Text by Henry-Russell Hitchcock. (Copyright, 1948, The Miller Company, Meriden, Connecticut) [Founded in 1844, the enterprise “Joel Miller and Son” initially manufactured candle holders, lamp screws, and candle springs but soon turned to producing copper base alloys to support the manufacturing end of the lighting industry. In 1924, the Tremaine family acquired the company and changed the mill division of the company, now known as “The Miller Company,” to a non-captive mill, supplying specialty copper strip to mostly United States manufacturers.] The Miller Company Collection of Abstract Art has been assembled to illustrate with original examples: Abstract painting of the 20th century which has influenced the development of modern architecture. Contemporary abstract painting And sculpture of potential value to contemporary architects. Lighting, to the modern architect, is no longer an accessory but a major structural element designed into the building from the first. The Miller Company, as manufacturers of lighting equipment, in the design problems of modern architecture has led them to bring together and circulate nationally these works of art; some of which are of historical importance for the part they have already played, and all of which we hope may prove suggestive to contemporary architectural designers.
    [Show full text]
  • The Role and the Nature of Repetition in Jasper Johns's Paintings in The
    The Role and the Nature of Repetition in Jasper Johns’s Paintings in the Context of Postwar American Art by Ela Krieger A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Approved Dissertation Committee Prof. Dr. Isabel Wünsche Jacobs University Bremen Prof. Dr. Paul Crowther Alma Mater Europaea Ljubljana Dr. Julia Timpe Jacobs University Bremen Date of Defense: 5 June 2019 Social Sciences and Humanities Abstract Abstract From the beginning of his artistic career, American artist Jasper Johns (b. 1930) has used various repetitive means in his paintings. Their significance in his work has not been sufficiently discussed; hence this thesis is an exploration of the role and the nature of repetition in Johns’s paintings, which is essential to better understand his artistic production. Following a thorough review of his paintings, it is possible to broadly classify his use of repetition into three types: repeating images and gestures, using the logic of printing, and quoting and returning to past artists. I examine each of these in relation to three major art theory elements: abstraction, autonomy, and originality. When Johns repeats images and gestures, he also reconsiders abstraction in painting; using the logic of printing enables him to follow the logic of another medium and to challenge the autonomy of painting; by quoting other artists, Johns is reexamining originality in painting. These types of repetition are distinct in their features but complementary in their mission to expand the boundaries of painting. The proposed classification system enables a better understanding of the role and the nature of repetition in the specific case of Johns’s paintings, and it enriches our understanding of the use of repetition and its perception in art in general.
    [Show full text]
  • The Leo Castelli Gallery in Metro Magazine: American Approaches to Post-Abstract Figuration in an Italian Context
    Copyright by Dorothy Jean McKetta 2012 The Thesis Committee for Dorothy Jean McKetta Certifies that this is the approved version of the following thesis: The Leo Castelli Gallery in Metro Magazine: American Approaches to Post-Abstract Figuration in an Italian Context APPROVED BY SUPERVISING COMMITTEE: Supervisor: Richard Shiff John R. Clarke The Leo Castelli Gallery in Metro Magazine: American Approaches to Post-Abstract Figuration in an Italian Context by Dorothy Jean McKetta, B.A.; B.F.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin August 2012 Dedication This thesis is dedicated to Paolo Barucchieri (1935-2012). Thank you, Paolo, for sharing your Italy with me. Acknowledgements I would like to acknowledge the many people who have made this thesis possible. Thank you to the members of my thesis committee who attended my colloquium: Dr. Andrea Giunta, Dr. Linda Henderson, and Dr. Nassos Papalexandrou. All of your comments have helped to bring my topic into focus over the past few months. To my reader, Dr. John R. Clarke, thank you for encouraging me to write on Italy in the twentieth century, and for sharing your personal library so generously. And, of course, many thanks to Dr. Richard Shiff, my advisor, who suggested and that Metro magazine might help me find clues to Cy Twombly’s Roman milieu. Thank you for all your attention and trust. I would also like to acknowledge a few others who have helped along the way: Laura Schwartz, William Crain, Bob Penman, Maureen Howell, Jessamine Batario, my parents Randy and Terry McKetta.
    [Show full text]
  • In Fall 2020, a Lifetime Retrospective Dedicated to Jasper Johns Will Be Presented Simultaneously in New York and Philadelphia I
    Jasper Johns, Corpse and Mirror II, 1974–75. Oil and sand on canvas Jasper Johns, Three Flags, 1958. Encaustic on canvas, 30 5/8 × 45 1/2 × 4 5/8 (4 panels), 57 5/8 x 75 ¼ in. (146.4 x 191.1 cm). Collection of the Artist. in. (77.8 × 115.6 × 11.7 cm). Whitney Museum of American Art, New York; © Jasper Johns/Licensed by VAGA, New York, NY purchase with funds from the Gilman Foundation, Inc., The Lauder Foundation, A. Alfred Taubman, Laura-Lee Whittier Woods, Howard Lipman, and Ed Downe in honor of the Museum's 50th Anniversary 80.32. Art © Jasper Johns/Licensed by VAGA, New York, NY IN FALL 2020, A LIFETIME RETROSPECTIVE DEDICATED TO JASPER JOHNS WILL BE PRESENTED SIMULTANEOUSLY IN NEW YORK AND PHILADELPHIA In an unprecedented collaboration, this major exhibition is jointly organized by the Whitney Museum of American Art and the Philadelphia Museum of Art October 28, 2020–February 21, 2021 NEW YORK and PHILADELPHIA, March 2, 2020—The most ambitious retrospective to date of the work of Jasper Johns, organized by the Philadelphia Museum of Art and the Whitney Museum of American Art, will be presented simultaneously in New York and Philadelphia this fall. A single exhibition in two venues, this unprecedented collaboration, Jasper Johns: Mind/Mirror, will be the artist’s first major museum retrospective on the East Coast in nearly a quarter century. It opens concurrently in Philadelphia and in New York on October 28, 2020. Filling almost 30,000 combined square feet across the two venues, the exhibition will contain nearly 500 works.
    [Show full text]