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| | | Jasper Johns: Drawings 1997-2007Text by Thomas Crow.
In this stunning collection of works on paper made between 1997 and 2007, most of which have never been reproduced before, Jasper Johns "preempts the tendency of commentators to cite his productions of decades past by doing the job himself," according to essayist Thomas Crow. The works are filled with autobiographical references and allusions to art-historical precursors. They often combine early motifs like flags, maps, numerals or cross-hatchings with newer ones like the Harlequin's costume, pieces of string or flagstones. Says Crow, "This recursivity is habitual. There is virtually no motif or device that Johns has ever used that can be regarded as safely forgotten or discarded. When asked about the longevity of certain of these motifs, Johns replies half-seriously that he would like to get rid of them, but they will not go away. In his gradually expanding network of emblems and objects, any one of them, it seems, can strike up a relationship with any other, such that the outcome almost never prompts thoughts of exhaustion or absence of invention. A single addition, like the bits of string suspended in catenary curves that made their appearance around 1996, has a way of regalvanizing the entire existing repertory."
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FORMAT: Hardback, 9.25 x 11.75 in. / 100 pgs / 45 color.
LIST PRICE: U.S. $60.00
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ISBN: 9781880146484
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| Jasper Johns: Drawings 1997-2007 Published by Matthew Marks Gallery.
Text by Thomas Crow. | In this stunning collection of works on paper made between 1997 and 2007, most of which have never been reproduced before, Jasper Johns "preempts the tendency of commentators to cite his productions of decades past by doing the job himself," according to essayist Thomas Crow. The works are filled with autobiographical references and allusions to art-historical precursors. They often combine early motifs like flags, maps, numerals or cross-hatchings with newer ones like the Harlequin's costume, pieces of string or flagstones. Says Crow, "This recursivity is habitual. There is virtually no motif or device that Johns has ever used that can be regarded as safely forgotten or discarded. When asked about the longevity of certain of these motifs, Johns replies half-seriously that he would like to get rid of them, but they will not go away. In his gradually expanding network of emblems and objects, any one of them, it seems, can strike up a relationship with any other, such that the outcome almost never prompts thoughts of exhaustion or absence of invention. A single addition, like the bits of string suspended in catenary curves that made their appearance around 1996, has a way of regalvanizing the entire existing repertory."
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