The same can be said of “Jasper Johns: A Print Retrospective,” which appeared at MOMA in 1986.
The exhibition concluded, however, before Johns moved from investigations of his adult world-his art, possessions and artistic career-to examinations of his childhood experience. In the exhibition catalogue, Mark Rosenthal noted the presence in these paintings of tracings after Matthias Grunewald’s Isenheim Altarpiece as well as Johns’s attraction to Christian themes. The exhibition “Jasper Johns: Work Since 1974,” held at the Philadelphia Museum of Art in 1989 (and first presented at the 1988 Venice Biennale), recorded the transition from the abstract, allover fields of the Crosshatch paintings to the illusionistic representations of the “bathtub” and Seasons pictures, works in which this famously impersonal artist first ventured into the realm of autobiography. Finally, one must simply drop the reserve.” 1 I sort of stuck to my guns for a while, but eventually it seemed like a losing battle. This was partly to do with my feelings about myself and partly to do with my feelings about painting at the time. In 1984, Johns described the change in his art as follows: “In my early work I tried to hide my personality, my psychological state, my emotions. There is now a sufficient amount of production since the juncture that occurred in Johns’s art in 1982 to evaluate this controversial body of work and understand its relationship to Johns’s earlier output.
#Review jasper johns mirror full
Although this might seem an odd comment to make about one of America’s most widely exhibited artists (Johns’s full exhibition history is so extensive that it is being supplied, together with a bibliography, on CD-ROM), the MOMA retrospective arrived at an opportune moment. The Jasper Johns retrospective recently held at the Museum of Modem Art was extremely timely. Published Art In America, April 1997 Jasper Johns, Target with Four Faces, 1955 A major traveling retrospective, organized by MOMA and currently on view at Cologne’s Ludwig Museum, traces Jasper Johns’s 45-year odyssey from esthetic impersonality to deeply affecting-though still formally encrypted-self-revelation.
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