![]() And that we could have two shows that in a way mirror, echo, or reflect one of them, that became the kind of structural logic or metaphor for how the exhibitions would proceed.”Ī retrospective for Johns is certainly nothing new - from his 1977 exhibition at the Whitney organized by David Whitney (no relation) to the 1996 show at the Museum of Modern Art, splendidly curated by the late and storied Kirk Varnedoe, to the 2017 in-depth survey “Jasper Johns: Something Resembling Truth,” cocurated by Roberta Bernstein and Edith Devaney at the Royal Academy of Arts in London that also traveled to the Broad in Los Angeles. “Since the very beginning of his career, the artist had been interested in mirroring, in doubles, in reflection, and doing a version of a work in encaustic or oil, in black and white or in color, and playing with reversal inversions of figure and ground. ![]() “Ultimately, we took the inspiration from Jasper’s own art,” says Scott Rothkopf, senior deputy director at the Whitney Museum of American Art and the exhibition’s cocurator. Image courtesy the Philadelphia Museum of Art We have chosen works that are mostly predicated on darkness, while everything at the Whitney is much more surreal.” FLYING HIGH The artist’s iconic Flag, 1954-55 - in encaustic, oil, and collage on fabric mounted on wood - is among the highlights going on view at the Philadelphia Museum of Art For example, he explains: “Philadelphia shows Johns’s number paintings, and drawings, and the Whitney shows flags and maps. and Katherine Sachs senior curator of contemporary art at the Philadelphia Museum of Art. ![]() “The rooms tell you the story, and for every room in one place, there’s a room in the other,” says Carlos Basualdo, the Keith L. “Jasper Johns: Mind/Mirror” will showcase more than 500 works dating from 1954 to the present - a panoramic body of work that ranges from painting, sculpture, and drawing to prints, books, costumes, and even theater sets.īoth exhibitions have been designed as a series of curated rooms akin to twin mini-mansions, each having ten chambers with names like “Real Things as Paintings,” “Doubles & Reflections,” and “Disappearance & Negation.” At 91, Jasper Johns, the widely revered and famously private American artist who was an impoverished unknown until he became an overnight art-star sensation at age 27 with his debut solo show at the Leo Castelli gallery, will be honored this month with an unprecedented dual retrospective opening in both New York and Philadelphia.
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