Jasper Johns. Catherine Craft

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      One evening in January 1958, Catharine Rembert, an art instructor from the University of South Carolina, was on a visit to New York, waiting for a former student to join her for dinner. Jasper Johns came late, but he made up for it by jubilantly picking her up and dancing her about the room. He was celebrating an astounding success: at twenty-seven years of age, his first solo exhibition had just opened at the Leo Castelli Gallery, landing him on the cover of Art News magazine and prompting the Museum of Modern Art to purchase three of his works – a development that had occurred just that day.

      The critical and commercial success of Johns’s first show is something of a legend in the history of American art, and deservedly so. At a time when the dominant mode of painting, Abstract Expressionism, emphasised expressive drama through boldly gestural brushwork and largely abstract compositions, Johns’s paintings of the American flag, targets, numbers and the alphabet marked a decided departure from convention. Despite being painted with obvious care, they seemed emotionally reticent, cool and quiet, far from the emotional fireworks then fashionable.

      Abstract Expressionism’s first generation of artists, which included such legendary figures as Jackson Pollock, Willem de Kooning and Mark Rothko, had begun making art during the difficult years of the Depression and World War II. In response to these circumstances, they stressed the centrality of the artist’s self in the creation of art, and the production of a painting as an act of absolute personal authenticity. As a younger generation came on the scene in the 1950s, many of them adopted these attitudes, and soon what had been a position of existential significance began, through repetition, to seem mannered and overwrought. In this climate, Johns’s debut was both a shock and a breath of fresh air.

      Whereas Abstract Expressionist Barnett Newman had explained that instead of “making cathedrals out of Christ, man, or ‘life,’” he and his peers were making them “out of ourselves, out of our own feelings,”[4] and Rothko declared that he wanted viewers to weep before his canvases, Johns in contrast remarked in one of his first interviews:

      Untitled, 1954. Oil on paper mounted on fabric, 22.9 × 22.9 cm. The Menil Collection, Houston. Art © Jasper Johns/Licensed by VAGA, New York, NY

      Unlike most artists’ statements in New York during the 1950s, Johns’s remarks contained none of the familiar talk of doubt and angst, and his selection of subject matter appeared deliberate, thoughtful, and far removed from emotional attachments and desires. To younger artists his art seemed not so much cold and unfeeling as clear-eyed and honest after the excesses of Abstract Expressionism; after all, as artist Mel Bochner later put it, “Where is your true self at age 23?”[6] Furthermore, in selecting recognisable subjects, Johns seemed to reject prevailing abstract modes of painting, yet his subjects themselves – flags, targets, numbers – each possessed a vital characteristic of classic abstraction, namely, a flatness rendering them all but indistinguishable from the picture plane itself. His work made the polarity between abstraction and representation that had dominated debates about modern art for decades seem suddenly obsolete, opening up other ways of thinking about art’s relation to the world.

      Artists began to respond to Johns’s example almost immediately. One measure of his art’s considerable impact is the fact that it affected so many different types of artists. The restrained and intellectual qualities of his paintings and his insistence on their identities as physical objects made a strong impression on such artists as Frank Stella, Donald Judd, Robert Morris, and John Baldessari, and would contribute to the development of Minimal and Conceptual Art. At the same time, Johns’s careful attention to everyday images and objects – “things the mind already knows” – would also inspire Pop Art and the work of other artists, such as Chuck Close, who felt restricted by abstraction. In the years that followed, new generations of artists as diverse as Brice Marden, David Salle, Robert Gober, Kiki Smith and Terry Winters would each find something СКАЧАТЬ