01 November 2010

Roy Lichtenstein

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Roy Lichtenstein

Roy Lichtenstein, 1985
Birth name Roy Fox Lichtenstein[1]
Born October 27, 1923(1923-10-27)
Manhattan, New York, U.S.
Died September 29, 1997 (aged 73)
Manhattan, New York, U.S.
Nationality American
Field Painting, Sculpture
Training Ohio State University
Movement Pop Art

Roy Lichtenstein (October 27, 1923 – September 29, 1997) was a prominent American pop artist. During the 1960s his paintings were exhibited at the Leo Castelli Gallery in New York City and along with Andy Warhol, Jasper Johns, James Rosenquist and others he became a leading figure in the new art movement. His work defined the basic premise of pop art better than any other through parody. [2] Favoring the old-fashioned comic strip as subject matter, Lichtenstein produced hard-edged, precise compositions that documented while it parodied often in a tongue-in-cheek humorous manner. His work was heavily influenced by both popular advertising and the comic book style. He himself described Pop Art as, "not 'American' painting but actually industrial painting".[3]

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[edit] Early years

Roy Lichtenstein was born in Manhattan into an upper-middle-class New York City[1] family and attended public school until the age of 12. He then enrolled at Manhattan's Franklin School for Boys, remaining there for his secondary education.[1] Art was not included in the school's curriculum; Lichtenstein first became interested in art and design as a hobby.[4] He was an avid jazz fan, often attending concerts at the Apollo Theater in Harlem.[4] He frequently drew portraits of the musicians playing their instruments.[4] After graduation from Franklin, Lichtenstein enrolled in summer classes at the Art Students League of New York, where he worked under the tutelage of Reginald Marsh.[3]

Lichtenstein then left New York to study at the Ohio State University, which offered studio courses and a degree in fine arts.[1] His studies were interrupted by a three-year stint in the army during and after World War II between 1943 and 1946.[1] Lichtenstein returned home to visit his dying father and was discharged from the army under the G.I. Bill.[4] He returned to studies in Ohio under the supervision of one of his teachers, Hoyt L. Sherman, who is widely regarded to have had a significant impact on his future work (Lichtenstein would later name a new studio he funded at OSU as the Hoyt L. Sherman Studio Art Center).[5] Lichtenstein entered the graduate program at Ohio State and was hired as an art instructor, a post he held on and off for the next ten years. In 1949 Lichtenstein received a M.F.A. degree from the Ohio State University and in the same year married Isabel Wilson who was previously married to Ohio artist Michael Sarisky (Isabel divorced Roy Lichtenstein in 1965).[6] In 1951 Lichtenstein had his first one-man exhibition at the Carlebach Gallery in New York.[1][7]

He moved to Cleveland in the same year, where he remained for six years, although he frequently travelled back to New York. During this time he undertook jobs as varied as a draftsman to a window decorator in between periods of painting.[1] His work at this time fluctuated between Cubism and Expressionism.[4] In 1954 his first son, David Hoyt Lichtenstein, now a songwriter, was born. He then had his second son, Mitchell Lichtenstein in 1956.[3] In 1957 he moved back to upstate New York and began teaching again.[3] It was at this time that he adopted the Abstract Expressionism style, a late convert to this style of painting.[4] From 1970 until his death, Lichtenstein split his time between New York city and a house near the beach in Southampton.[8]

[edit] Rise to fame

Drowning Girl (1963). On display at the Museum of Modern Art, New York.
The Head (1992), Barcelona.

Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. However, the brutal upstate winters were taking a toll on him and his wife.[9]

In 1960, he started teaching at Rutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the University. This environment helped reignite his interest in Proto-pop imagery.[1] In 1961 Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertising imagery suggesting consumerism and homemaking.[4] His first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey (1961, National Gallery of Art, Washington, D.C.).[6] This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?"[10] In the same year he produced six other works with recognizable characters from gum wrappers and cartoons.[11] In 1961 Leo Castelli started displaying Lichtenstein's work at his gallery in New York. Lichtenstein had his first one-man show at the Castelli gallery in 1962; the entire collection was bought by influential collectors before the show even opened.[1] In September 1963 he took a leave of absence from his teaching position at Douglass College at Rutgers.[12]

[edit] Fame

It was at this time, that Lichtenstein began to find fame not just in America but worldwide. He moved back to New York to be at the center of the art scene and resigned from Rutgers University in 1964 to concentrate on his painting.[4] Lichtenstein used oil and Magna paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics' Secret Hearts #83. (Drowning Girl now hangs in the Museum of Modern Art, New York.[4]) Also featuring thick outlines, bold colors and Ben-Day dots to represent certain colors, as if created by photographic reproduction. Lichtenstein would say of his own work: Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock's or Kline's."[13]

Rather than attempt to reproduce his subjects, his work tackled the way mass media portrays them. Lichtenstein would never take himself too seriously however: "I think my work is different from comic strips- but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art".[3] When his work was first released, many art critics of the time challenged its originality. More often than not they were making no attempt to be positive. Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument".[3]

Whaam! (1963). Magna on Canvas. On display at Tate Modern, London.

His most famous image is arguably Whaam! (1963, Tate Modern, London[14]), one of the earliest known examples of pop art, adapted a comic-book panel from a 1962 issue of DC Comics' All-American Men of War.[15] The painting depicts a fighter aircraft firing a rocket into an enemy plane, with a red-and-yellow explosion. The cartoon style is heightened by the use of the onomatopoeic lettering "Whaam!" and the boxed caption "I pressed the fire control... and ahead of me rockets blazed through the sky..." This diptych is large in scale, measuring 1.7 x 4.0 m (5 ft 7 in x 13 ft 4 in).[14]

Original comic book panel from All-American Men of War #89, 1962 (DC Comics)

Most of his best-known artworks are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. (He would occasionally incorporate comics into his work in different ways in later decades.) These panels were originally drawn by such comics artists as Jack Kirby and DC Comics artists Russ Heath, Tony Abruzzo, Irv Novick, and Jerry Grandenetti, who rarely received any credit. Jack Cowart, executive director of the Lichtenstein Foundation, contests the notion that Lichtenstein was a copyist, saying: "Roy's work was a wonderment of the graphic formulae and the codification of sentiment that had been worked out by others. The panels were changed in scale, color, treatment, and in their implications. There is no exact copy."[16] However, some[17] have been critical of Lichtenstein's use of comic-book imagery, especially insofar as that use has been seen as endorsement of a patronizing view of comic by the art mainstream;[17] noted comics author Art Spiegelman commented that "Lichtenstein did no more or less for comics than Andy Warhol did for soup."[17]

In 1967, his first museum retrospective exhibition was held at the Pasadena Art Museum in California. Also in this year, his first solo exhibition in Europe was held at museums in Amsterdam, London, Bern and Hannover.[6] He married his second wife, Dorothy Herzka in 1968.[6]

In the 1970s and 1980s, his style began to loosen and he expanded on what he had done before. He produced a series of "Artists Studios" which incorporated elements of his previous work. A notable example being Artist's Studio, Look Mickey (1973, Walker Art Center, Minneapolis) which incorporates five other previous works, fitted into the scene.[1]

In the late 1970s, this style was replaced with more surreal works such as Pow Wow (1979, Ludwig Forum für Internationale Kunst, Aachen).

In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Art Car Project.

In addition to paintings, he also made sculptures in metal and plastic including some notable public sculptures such as Lamp in St. Mary’s, Georgia in 1978, and over 300 prints, mostly in screenprinting.[18]

His painting Torpedo...Los! sold at Christie's for $5.5 million in 1989, a record sum at the time, making him one of only three living artists to have attracted such huge sums.[6]

In 1996 the National Gallery of Art in Washington, D.C. became the largest single repository of the artist's work when he donated 154 prints and 2 books. In total there are some 4,500 works thought to be in circulation.[1]

He died of pneumonia in 1997[10] at New York University Medical Center.

He was survived by his second wife, Dorothy, and by his sons, David and Mitchell, from his first marriage. The DreamWorks Records logo was his last completed project.[1]

His work Crying Girl was one of the artworks brought to life in Night at the Museum: Battle of the Smithsonian.

[edit] Relevance

Pop art continues to influence the 21st century. Lichtenstein and Andy Warhol were used in U2's 1997, 1998 PopMart Tour and in an exhibition in 2007 at the British National Portrait Gallery.

Among many other works of art destroyed in the World Trade Center attacks on September 11, 2001, a painting from Roy Lichtenstein’s The Entablature Series was destroyed in the fire.[19]

[edit] Awards

[edit] References

  1. ^ a b c d e f g h i j k l Clare Bell. "The Roy Lichtenstein Foundation - Chronology". http://www.lichtensteinfoundation.org/lfchron1.htm. Retrieved 2007-11-12.
  2. ^ Arnason, H., History of Modern Art: Painting, Sculpture, Architecture, New York: Harry N. Abrams, Inc. 1968.
  3. ^ a b c d e f Coplans, John (1972). Roy Lichtenstein. Interviews, p55, 30, 31.
  4. ^ a b c d e f g h i Hendrickson, Janis (1993). Lichtenstein. pp. 94.
  5. ^ The Ohio State University. "Sculpture. Facilities". http://art.osu.edu/?p=ds_facilities. Retrieved 2007-11-12.
  6. ^ a b c d e Alloway, Lawrence (1983). Roy Lichtenstein. pp. 113.
  7. ^ Clare Bell. "Roy Lichtenstein Exhibitions..... 1946-2009". http://www.lichtensteinfoundation.org/solexint.htm. Retrieved 2009-12-08.
  8. ^ Julianelli, Jane (1997-02-02). "Actor Finds That His Roles Walk on the Darker Side of Life". New York Times. http://select.nytimes.com/gst/abstract.html?res=F10F10F93C590C718CDDAB0894DF494D81.
  9. ^ Gayford, Martin (2004-02-25). "Whaam! Suddenly Roy was the darling of the art world". The Daily Telegraph (London). http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2004/02/25/baroy23.xml. Retrieved 2007-11-12.
  10. ^ a b Lucie-Smith, Edward (September 1, 1999). Lives of the Great 20th-Century Artists. Thames & Hudson. ISBN 978-0500237397.
  11. ^ Lobel, Michael (2002). Image Duplicator. pp. 33.
  12. ^ Joan M Marter, Off limits: Rutgers University and the Avant-Garde 1957-1963, Rutgers University Press, 1999, p37. ISBN 0-8135-2610-8
  13. ^ Kimmelman, Michael (1997-09-30). "Roy Lichtenstein, Pop Master, Dies at 73". New York Times. http://query.nytimes.com/gst/fullpage.html?res=9B03E0DF103AF933A0575AC0A961958260&sec=&spon=&pagewanted=3. Retrieved 2007-11-12.
  14. ^ a b Lichtenstein, Roy. "Whaam!". Tate Collection. http://www.tate.org.uk/servlet/ViewWork?workid=8782. Retrieved 2008-01-27.
  15. ^ Lichtenstein, Roy. "Whaam!". Roy Lichtenstein Foundation website. http://www.image-duplicator.com/main.php?decade=60&year=63&work_id=137. Retrieved 2009-09-12.
  16. ^ Beam, Alex (October 18, 2006). "Lichtenstein: creator or copycat?" (Web). Editorial. Boston.com. http://www.boston.com/news/globe/living/articles/2006/10/18/lichtenstein_creator_or_copycat/. Retrieved 2007-07-16.
  17. ^ a b c Sanderson, Peter. "Art Spiegelman Goes to College". Publishers Weekly. http://www.publishersweekly.com/article/406197-Spiegelman_Goes_to_College.php. Retrieved 2010-03-26.
  18. ^ Corlett, Mary Lee. The prints of Roy Lichtenstein, a catalogue raisonné, 1948-1997 2nd ed. (New York: Hudson Hills Press, 2002).
  19. ^ Kelly Devine Thomas (November 2001). "Aftershocks". ARTnews. http://www.artnews.com/issues/article.asp?art_id=1005. Retrieved 2008-09-13.

[edit] Further reading

  • Roy Lichtenstein by Janis Hendrickson - ISBN 3-8228-0281-6
  • The Prints of Roy Lichtenstein: A Catalogue Raisonné 1948-1997 by Mary L. Corlett - ISBN 1-55595-196-1
  • Roy Lichtenstein (Modern Masters Series, Vol. 1) by Lawrence Alloway - ISBN 0-89659-331-2
  • Roy Lichtenstein Interview with Chris Hunt Image Entertainment video, 1991
  • Roy Lichtenstein Interview with Melvyn Bragg video
  • Off Limits: Rutgers University and the Avant-Garde, 1957-1963 - Ed. Joan Marter - ISBN 0-8135-2609-4
  • Roy Lichtenstein's ABC's by Bob Adelman - ISBN 978-0-8212-2591-2
  • Roy Lichtenstein Drawings and Prints 1970 Chelsea House publishers, introduction by Diane Waldman

[edit] External links

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Richard Diebenkorn

Richard Diebenkorn (April 22, 1922 – March 30, 1993) was a well-known 20th century American painter. His early work is associated with Abstract expressionism and the Bay Area Figurative Movement of the 1950s and 1960s. His later work (best known as the Ocean Park paintings) were instrumental to his achievement of worldwide acclaim.

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[edit] Biography

Richard Diebenkorn was born on April 22, 1922 in Portland, Oregon. His family moved to San Francisco, California when he was two years old. From the age of four or five he was continually drawing.[1] In 1940, Diebenkorn entered Stanford University, where he met his first two artistic mentors, Professor Victor Arnautoff who guided Diebenkorn in classical formal discipline with oil paint, and Daniel Mendelowitz, with whom he shared a passion for the work of Edward Hopper.[2] Hopper's influence can be seen in Diebenkorn's representational work of this time.

During the late 1940s and early 1950s, he lived and worked in various places: New York City, Woodstock, New York, Albuquerque, New Mexico, Urbana, Illinois, Berkeley, California and he developed his own style of abstract expressionist painting. Abstract expressionism had captured worldwide attention, having developed in New York during the 1940s.

Diebenkorn served in the United States Marine Corps from 1943 to 1945.[3] After the Second World War, the focus of the art world shifted from the School of Paris to the New York School. In the early 1950s Diebenkorn adopted abstract expressionism as his vehicle for self-expression, influenced at first by Clyfford Still, Arshile Gorky and Willem de Kooning. He became a leading abstract expressionist on the west coast. In 1950 to 1952, Diebenkorn was enrolled under the G.I. Bill in the University of New Mexico’s graduate fine-arts department where he created a lucid version of Abstract Expressionism.[4]

He lived in Berkeley, California from 1955 to 1966. By the mid-1950s Diebenkorn had become an important figurative painter, in a style that bridged Henri Matisse with abstract expressionism. Diebenkorn, Elmer Bischoff, Henry Villierme, David Park, James Weeks, and others participated in a renaissance of figurative painting, dubbed the Bay Area Figurative Movement.

In the fall 1964 through the spring 1965 Diebenkorn traveled through Europe and he was granted a cultural visa to visit and view Henri Matisse paintings in important Soviet museums. When he returned to painting in the Bay Area in mid-1965 his resulting works summed up all that he had learned from his more than a decade as a leading figurative painter.[5]

In 1967 Diebenkorn returned to abstraction, this time in a distinctly personal, geometric style that clearly departed from his early abstract expressionist period. The "Ocean Park" series, began in 1967 and developed for over twenty-five years, became his most famous work and resulted in more than 140 paintings. Based on the aerial landscape and perhaps the view from the window of his studio, these large-scale abstract compositions are named after a community in Santa Monica, California, where he had his studio. The Ocean Park series bridges his earlier abstract expressionist works with Color field painting and Lyrical Abstraction. He taught at this time at UCLA. In 1990, Diebenkorn produced a series of six etchings for the Arion Press edition of Poems of W. B. Yeats, with poems selected and introduced by Helen Vendler. In 1991, he was awarded the National Medal of Arts.[6]

Richard Diebenkorn died due to complications from emphysema in Berkeley on March 30, 1993.

[edit] See also

[edit] References

  1. ^ Livingston, J: "The Art of Richard Diebenkorn", page 18. Whitney California, 1997.
  2. ^ Livingston, J: "The Art of Richard Diebenkorn", pages 20–21. Whitney California, 1997.
  3. ^ "RD Biography". Richard Diebenkorn Catalogue Raisonné. http://www.diebenkorn.org/bio/bio.html. Retrieved March 21, 2009.
  4. ^ Robert Ayers (January 3, 2008). New York Winter Exhibition Preview. ARTINFO. http://www.artinfo.com/news/story/26357/new-york-winter-exhibition-preview/. Retrieved 2008-04-24
  5. ^ Jane Livingston, The Art of Richard Diebenkorn, p.56, 1997–1998 Exhibition catalog, The Whitney Museum of American Art, The Art of Richard Diebenkorn, ISBN 0-52021257-6,
  6. ^ Lifetime Honors - National Medal of Arts

[edit] Sources

[edit] External links

[edit] Further reading

  • Nancy Marmer, "Richard Diebenkorn: Pacific Extensions," Art in America, January/February 1978, pp. 95–99.
Retrieved from "http://en.wikipedia.org/wiki/Richard_Diebenkorn"
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Jasper Johns

Jasper Johns, Jr. (born May 15, 1930) is an American contemporary artist who works primarily in painting and printmaking.

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[edit] Life

Born in Augusta, Georgia, Jasper Johns spent his early life in Allendale, South Carolina with his paternal grandparents after his parents' marriage failed. He then spent a year living with his mother in Columbia, South Carolina and thereafter he spent several years living with his aunt Gladys in Lake Murray, South Carolina, twenty-two miles from Columbia. He completed high school in Sumter, South Carolina, where he once again lived with his mother.[1] Recounting this period in his life, he says, "In the place where I was a child, there were no artists and there was no art, so I really didn't know what that meant. I think I thought it meant that I would be in a situation different than the one that I was in." He began drawing when he was three and has continued doing art ever since.[2]

Johns studied at the University of South Carolina from 1947 to 1948, a total of three semesters.[3] He then moved to New York City and studied briefly at the Parsons School of Design in 1949.[3] While in New York, Johns met Robert Rauschenberg, with whom he had a relationship,[4] as well as Merce Cunningham and John Cage. Working together they explored the contemporary art scene, and began developing their ideas on art. In 1963, Johns and Cage founded Foundation for Contemporary Performance Arts, now known as Foundation for Contemporary Arts in New York City. In 1952 and 1953 he was stationed in Sendai, Japan during the Korean War.[3]

In 1958, gallery owner Leo Castelli discovered Johns while visiting Rauschenberg's studio.[3] Castelli gave him his first solo show. It was here that Alfred Barr, the founding director of New York's Museum of Modern Art, purchased four works from his exhibition.[2]

Johns currently lives in Sharon, Connecticut and the Island of Saint Martin.[5]

[edit] Work

He is best known for his painting Flag (1954–55), which he painted after having a dream of the American flag. His work is often described as a Neo-Dadaist, as opposed to pop art, even though his subject matter often includes images and objects from popular culture.[citation needed] Still, many compilations on pop art include Jasper Johns as a pop artist because of his artistic use of classical iconography.

Early works were composed using simple schema such as flags, maps, targets, letters and numbers. Johns' treatment of the surface is often lush and painterly; he is famous for incorporating such media as encaustic and plaster relief in his paintings. Johns played with and presented opposites, contradictions, paradoxes, and ironies, much like Marcel Duchamp (who was associated with the Dada movement). Johns also produces intaglio prints, sculptures and lithographs with similar motifs.

Johns' breakthrough move, which was to inform much later work by others, was to appropriate popular iconography for painting, thus allowing a set of familiar associations to answer the need for subject. Though the Abstract Expressionists disdained subject matter, it could be argued that in the end, they had simply changed subjects. Johns neutralized the subject, so that something like a pure painted surface could declare itself. For twenty years after Johns painted Flag, the surface could suffice - for example, in Andy Warhol's silkscreens, or in Robert Irwin's illuminated ambient works.

Abstract Expressionist figures like Jackson Pollock and Willem de Kooning ascribed to the concept of a macho "artist hero", and their paintings are indexical in that they stand effectively as a signature on canvas. In contrast, Neo-Dadaists like Johns and Rauschenberg seemed preoccupied with a lessening of the reliance of their art on indexical qualities, seeking instead to create meaning solely through the use of conventional symbols. Some have interpreted this as a rejection of the hallowed individualism of the Abstract Expressionists. Their works also imply symbols existing outside of any referential context. Johns' Flag, for instance, is primarily a visual object, divorced from its symbolic connotations and reduced to something in-itself.

In 1990, he was awarded the National Medal of Arts. He is represented by the Matthew Marks Gallery in New York City, and in the spring 2008, a ten-year retrospective of Johns' drawings was mounted there.

[edit] Collection and acquisition

In 1998, the Metropolitan Museum of Art in New York bought Johns' White Flag. While the Met would not disclose how much was paid, "experts estimate [the painting's] value at more than $20 million."[6] In 2006, private collectors Anne and Kenneth Griffin (founder of the Chicago-based hedge fund Citadel Investment Group) bought Johns' False Start for $80 million, making it the most expensive painting by a living artist.[7]

The National Gallery of Art acquired about 1,700 of Johns' proofs in 2007. This made the Gallery home to the largest number of Johns' works held by a single institution. The exhibition showed works from many points in Johns' career, including recent proofs of his prints. [8]

Since the 1980s, Johns produces paintings at four to five a year, sometimes not at all during a year. His large scale paintings are much favored by collectors and due to their rarity, it is known that Johns' works are extremely difficult to acquire.

Skate’s Art Market Research (Skate Press, Ltd.), a New York based advisory firm servicing private and institutional investors in the art market, has ranked Jasper Johns as the 30th most valuable artist.[9] The firm’s index of the 1,000 most valuable works of art sold at auction - Skate’s Top 1000 - contains 7 works by Johns.

[edit] Other work

  • Flag (1954–55)
  • White Flag (1955)[10]
  • Target with Plaster Casts (1955)
  • False Start (1959)
  • Three Flags (1958)
  • Coathanger (1960)
  • Painting With Two Balls (1960)
  • Painted Bronze (1960)
  • Device (1962-3)
  • Periscope (Hart Crane) (1963)
  • The Critic Sees (1964)
  • Study for Skin (1962)
  • Figure Five (1963–64)
  • Voice (1967)
  • Skull (1973)
  • Tantric Detail (1980)
  • Seasons (1986)
  • Numbers in Color(1958–59)
  • Titanic(1976–78)

[edit] Appearance in popular culture

In 1999, Jasper Johns guest-starred in the animated television series The Simpsons, as himself. In the episode "Mom and Pop Art", Homer Simpson is hailed as an "outsider artist" after an art dealer discovers Homer's mangled brick barbecue grill, and Johns attends one of his exhibitions. Johns is portrayed as a kleptomaniac, constantly stealing food items, lightbulbs, a motorboat, and Marge's painting of the flooded town.

[edit] References

  1. ^ GeorgianEncyclopedia.org, New Georgia Encyclopedia 16 January 2009.
  2. ^ a b Finkel, Jori. Artist Dossier: Jasper Johns. May 2009, Art+Auction.
  3. ^ a b c d Jasper Johns (born 1930); The Metropolitan Museum of Art, New York
  4. ^ 365gay.com. "Pop Artist Robert Rauschenberg Dies." My 13, 2008. Accessed May 13, 2008.
  5. ^ Betti-Sue Hertz. “Jasper Johns' Green Angel: The Making of A Print” Resource Library (San Diego Museum of Art) January 29, 2007.
  6. ^ Vogel, Carol (October 29, 1998). "Met Buys Its First Painting by Jasper Johns". New York Times (New York Times). http://query.nytimes.com/gst/fullpage.html?res=9E07E6D6113CF93AA15753C1A96E958260. Retrieved 2008-02-28.
  7. ^ Vogel, Carol (February 3, 2008). "The Gray Areas of Jasper Johns". New York Times. http://www.nytimes.com/2008/02/03/arts/design/03voge.html?ref=arts. Retrieved 2008-02-03.
  8. ^ Brett Zongker (March 6, 2007). National Gallery to Get Jasper Johns Prints. The Associated Press. http://www.artinfo.com/news/story/24455/national-gallery-to-get-jasper-johns-prints/. Retrieved 2008-04-16
  9. ^ SkatePress.com
  10. ^ Works of Art: Modern Art Metropolitan Museum of Art, online June 15, 2007

[edit] Suggested readings

 This article's further reading may not follow Wikipedia's content policies or guidelines. Please improve this article by removing excessive, less relevant or many publications with the same point of view; or by incorporating the relevant publications into the body of the article through appropriate citations. (August 2010)
  • Roberta Bernstein, Lilian Tone, Jasper Johns, and Kirk Varnedoe. Jasper Johns: A Retrospective, The Museum of Modern Art, 2006.
  • Jeffrey Weiss. Jasper Johns: An Allegory of Painting, 1955-1965, Yale University Press, 2007.
  • John Yau. A Thing Among Things: The Art of Jasper Johns, D.A.P./Distributed Art Publishers, 2008.
  • Max Kozloff. Jasper Johns, Abrams, 1972. (out of print)
  • Michael Crichton. Jasper Johns, Whitney/Abrams, 1977 (out of print).
  • Debra Pearlman. Where Is Jasper Johns? (Adventures in Art), Prestel Publishing, 2006.
  • Fred Orton. Figuring Jasper Johns, Reaktion Books, 1994.
  • Jasper Johns, Kirk Varnedoe, Christel Hollevoet, and Robert Frank. Jasper Johns: Writings, Sketchbook Notes, Interviews, The Museum of Modern Art, 2002 (out of print).
  • David Shapiro. Jasper Johns Drawings 1954-1984. Abrams 1984 (out of print).
  • Riva Castleman. Japser Johns a print retrospetive. The Museum of Modern Art 1986.
  • Rosalind E. Krauss and Christopher Knight. “Split decisions: Jasper Johns in retrospect” Artforum, September 1996. Findarticles.com
  • Harold Rosenberg. "Jasper Johns: Things the Mind Already Knows,". Vogue, 1964.
  • Roberta Bernstein. Jasper Johns' Paintings and Sculptures, 1954–1974: "The Changing Focus of the Eye.". Ann Arbor: UMI Research Press, 1985.
  • Calvin Tomkins. Off the Wall: Robert Rauschenberg and the Artworld of our time. Doubleday. 1980.

[edit] External links

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