Jasper Johns Gray, Art Institute of Chicago, November 3, 2007–January 6, 2008 and The Metropolitan Museum of Art, New York February 5, 2008-May 4, 2008 (another impression exhibited)
Literature
Universal Limited Art Editions 129
Catalogue Essay
...a density of surface characterizes the screenprint Flags II (1973; cat. no. 31), such that the print takes on an entirely new quality. It is neither a painting, drawing, nor relief sculpture, but a bit of all three. By adding varnish to some of the printing inks--notably on the right side--and using cut stencils in concert with more painterly resist stencils, Johns was able to make a surface that emulates encaustic on one side, oil paint on the other. Mark Pascale, Conditional Sates: The Appearance of Gray in Jasper John's Graphic Work, The Art Institute of Chicago, 2007, p. 116-7)
Jasper Johns is a painter and printmaker who holds a foundational place in twentieth century art history. Quoting the evocative gestural brushstroke of the Abstract Expressionists, Johns represented common objects such as flags, targets, masks, maps and numbers: He sought to explore things "seen and not looked at, not examined" in pictorial form. Drawing from common commercial and 'readymade' objects, such as newspaper clippings, Ballantine Ale and Savarin Coffee cans, Johns was a bridge to Pop, Dada and Conceptual art movements.
Beyond the historical significance, each work by Johns is individually considered in sensuous form. A curiosity of medium led him to employ a range of materials from encaustic and commercial house paint to lithography, intaglio and lead relief.
1973 Screenprint in black and grays, on J.B. Green paper, with full margins. S. 27 1/4 x 35 3/8 in. (69.2 x 89.9 cm) Signed, dated and annotated '1/2 Printer's Proof' (aside from the edition of 60 and 10 artist's proofs), co-published by the artist and Simca Print Artists, Inc., New York and Tokyo (with their blindstamp), framed.
