Along with personal lent from Johns’ own collection from his time in Japan are a handful of paintings and objets from Japanese artists and friends whose work also glean influence from Duchamp. These rarely-viewed paintings and drawings in the Johns/Japan gallery has a biographical portion surveying the painter’s earliest relationship with Japan during his time in the Army, as well as his return (a three-month residency through the Minami Gallery) once his stardom was established in 1964. “While the Whitney is focused strictly on American art, we are an encyclopedic institution from the past to the present day, globally, and, for this exhibition, we have a gallery focused on Johns’ relationship to Japan.” 2021 Jasper Johns/VAGA at Artists Rights Society, New York With that, the autonomous, yet unified twin exhibitions at Philadelphia’s Museum of Art and the Whitney is defined by its context in relation to each academy’s definition. Originally intended to debut during Johns’ 90th birthday in 2020 (slowed by COVID’s restrictions), “Mind/Mirror’s” multi-room setting just happens to coincide with the Philadelphia Museum of Art’s new look and expansion. “Mind/Mirror’ helps portray their narrative thread and how Johns was an inheritor of Duchamp’s legacy,” states Vogelman, pointing toward Jasper’s 1960 bronze and glass Flashlight for proof. Vogelman and I discuss the “intimate connection” of Johns to Duchamp, and how the latter’s longtime permanent collection at the Philadelphia Museum of Art led to a friendship between the Dada elder and the young painter after Johns and Robert Rauschenberg visited the Philly Duchamp exhibition in 1958. “Johns is responsible for the shock waves that went through the art world at that time. “Jasper changed the landscape of American art in 1954 when he made Flag,” says Sarah Vogelman, the PMoA’s Exhibition Assistant for this retrospective, regarding Johns’ launching of Pop Art, Conceptualism, and Minimalism.
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