![]() ![]() Engel Purchase Fund the Equitable Life Assurance Society of the United States Purchase Fund The Sondra and Charles Gilman, Jr. Whitney Museum of American Art, New York purchase, with funds from the Burroughs Wellcome Purchase Fund Leo Castelli the Wilfred P. Thereby, however, hangs too long a tale, ranging from MoMA’s “asleep at the wheel” to Whitney curator Scott Rothkopf’s “on the ball”. Indeed, given the quantity of its subsequent holdings, MoMA would seem to be Johns’s alma mater. A train-ride apart that, albeit a short one, is unlikely to bring the same viewers to both, begs the question: “Why was the Whitney not paired with the Museum of Modern Art – a subway hop north? True, the Whitney’s and Philadelphia’s holdings are equally deep, but MoMA was first, in 1958 (after Johns had destroyed all the previous work he could find), with the acquisition by its director, Alfred Barr, of four out-there but seminal paintings from Leo Castelli that only an agile eye would have purchased for a museum. Jasper Johns: Mind/Mirror, the twin peaks exhibitions staged to celebrate Jasper Johns’s 90th birthday but now, due to Covid, feting his 91st (with the happy result that he has produced more art in the interim) have just opened as one at New York’s postmodernist Whitney Museum and Pennsylvania’s traditionalist Philadelphia Museum of Art. © 2021 Jasper Johns/VAGA at Artists Rights Society (ARS), New York. ![]() The Museum of Modern Art, New York, NY Gift of Philip Johnson in honor of Alfred H. Encaustic, oil, and collage on fabric mounted on wood (3 panels), 41.25 x 60.75 in (104.8 x 154.3 cm). Accompanying “mirroring” exhibitions held simultaneously at the Whitney Museum of American Art and the Philadelphia Museum of Art, this lavishly illustrated volume features a selection of rarely published works along with never-before-published archival content and is full of revelations that allow us to engage with and understand the artist’s rich and varied body of work in new and meaningful ways.Jasper Johns: Mind/Mirror Last of the last, with Baldessari gone, of the great philosopher-artists, Jasper Johns is taking a twinned victory lap around two major museums in a bifurcated retrospective that confirms his place in the pantheon The various themes are further explored in a series of in-depth plate sections that combine prints, drawings, paintings, and sculptures to draw new connections in Johns’s vast output. These include Carroll Dunham on nightmares, Ruth Fine on monotypes and working proofs, Michio Hayashi on Japan, Terrance Hayes on flags, and Colm Toíbín on dreams, among many others. ![]() A diverse group of curators, academics, artists, and writers offer a series of essays-including many paired texts-that consider aspects of the artist’s work, such as recurring motifs, explorations of place, and use of a wide array of media. Inspired by the artist’s long-standing fascination with mirroring and doubles, this book provides an original and exciting perspective on Johns’s work and its continued relevance. Over the past 65 years, he has produced a radical and varied body of work marked by constant reinvention. 1930) is arguably the most influential artist living today. An innovative retrospective look at the work of one of America’s most iconic artists, utilizing the concepts of mirroring and doubling, which have long preoccupied Johns Jasper Johns (b. ![]()
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