Jasper Johns : b. 1930
In the fall of 1993, I decided to return to high-school in order to raise my graduation year (1984) GPA to a score that would allow me to attend university. I was unable to complete a full semester as this was the same year that I began suffering from a series of disabilities. Returning to high-school as a 27 y.o. re-opened many of the emotional scars I had been carrying. While I found that I was able to interact with staff (some former teachers) as an adult, the moment I was surrounded by other students I reverted to the introverted, shy, stumbling, and distant teen I had been the first time at this school. Overall, it was not a “good” experience. Thankfully, two years later I was able to enroll in the University of Toronto as a mature student; all it required was achieving an acceptable grade in a single “pre-university” course (I graduated with a 4.3).
The single highlight of my ‘93 return to high-school was a trip to the Buffalo AKG Art Museum where I fell head-over-heels in love with the works of Jasper Johns. It’s difficult to describe his body of work; the best I can do is “restrained chaos”. Many of his pieces imbue a frenetic energy into the simplest of subjects whether it’s numbers, the American flag, simple portraits, or household tools. His use of contrast (in shapes and colour), repetition in pattern(s), and texture is … masterful. I far prefer his work to more well-known artists from the same genre(s); Andy Warhol may be considered the “King of Pop-Art”, but that’s only because Johns exists in a universe all his own.
“Numbers in Color” : 1958-59
A picture of this piece simply does not do it justice; this is true for the majority of Johns’ work. I vividly remember seeing it in person for the first time, when I asked myself, “Why is this painting protected behind a glass enclosure?” It’s very uncommon to see (assumed) acrylic paintings protected by glass … much less a box built around them. It was only then that I read the description card. This wasn’t an acrylic painting; it was done in encaustic.
Very simply stated, encaustic is a method of applying pigment by using coloured wax—where acrylic uses a liquid plastic paint, oils use …. oil, graphite uses …. graphite, etc. Anyone that has gone searching for that set of cherished holiday candles (used once a year) knows the danger of storing them somewhere that is not climate controlled. Were “Numbers” not given the protection of a sealed enclosure, it would crack in the winter and slowly melt in the heat of summer. Not an ideal situation.
To add complexity to his process, Johns also treats each number-field in this piece as its own mini-painting. It’s another piece where the viewer can easily get lost for hours attempting to analyze the precision required for it to appear both harmonious and chaotic. It’s this “harmony in chaos” that I continue to find so alluring!
I also have Johns to thank for teaching me the importance of limiting my palette in any single piece; rather than reaching for a grey / beige / taupe hue, I’ve learned to mix them from the dominant colours already present in that piece. They very best, in my opinion, works in visual arts are those that trick the eye in seeing things that aren’t really there or allowing the eye to convince the viewer that many things are present at the same time. Johns is an absolute master at this.
“Target with Four Faces” : 1955
This is one of many pieces by Johns that combines traditional painting with more sculptural elements. He was a mixed-media artist long before this style of art creation became popular. Sometimes, it’s difficult to remember that there was a time when creative arts were strictly defined and separated.
This piece reminds me of a time when it was considered innovative (dangerous even) to mix disciplines, considering the current explosion in mixed-media that incorporates traditional visual arts, movement, sound, textiles, and directed light in so many exhibitions. In some ways, it gives me a moment to breathe deeply when surrounded by the over-stimulation of our modern world.
“Map” : 1961
One of the overriding themes in Johns’ work can loosely be described as Americana. Many of his pieces use easily recognizable concepts as the focus / jumping-off point: U.S. flags, maps, stars-and-stripes motifs, red-white-blue, etc. Some have described these repeated symbols as indicative of his “patriotism”. I disagree.
I’m don’t know whether Johns is particularly patriotic as an American. What I see is an artist using a public love of symbolism to his benefit. Why create a new “language” for one’s art when there are perfectly good “words”—represented by these symbols—that the general public will recognize. Johns, I believe, wants his work to be approachable while also inviting the viewer to ask … more … of the art, the artist, and oneself.