![]() As in much of Johns’s art, we become sensitized to difference through the repetition of the same. Visitors who attend the exhibition at one venue will get half-price admission to the other. Features the famous Savarin can and produced by Telamon Editions for the Jasper Johns exhibition at the Ehitney Museum. They are remarkable for their inventive variety: the arrangement of Johns’s handprints in one, for example, reiterates the pattern and distribution of hatch marks in another, while a third, inky black, limns the brushes with stalk-like white lines that verge on abstract marks. A lifetime retrospective of the work of Jasper Johns, organized by the Philadelphia Museum of Art and the Whitney Museum of American Art, is being presented simultaneously at both institutions. To make these unique works, Johns painted on surfaces such as paper or plastic, placed the image face down onto one of the Savarin lithographs, and ran the sheet through a press. Both the Whitney and Philadelphia venues survey the full arc of Johns’s career. A group of proofs rejected from the 1981 edition formed the basis for these monotypes, (three of seventeen in the Whitney’s collection). Jasper Johns: Mind/Mirror is designed as a single exhibition with two equal, and self-sufficient, parts. He returned to the image in 1977, creating a lithograph of the Savarin can for a poster announcing a retrospective of his work at the Whitney Museum, and used the extra plates from this print run to create a new variation on the subject in 1981. ‘Jasper Johns: Mind/Mirror’ runs at the Whitney Museum, New York, and the Philadelphia Museum of Art to February 13 2022, and Follow ftweekend on Twitter to find. The subject of these monotypes dates to 1960, the year Jasper Johns made a life-size painted bronzed sculpture based on a Savarin coffee can that he used to hold paintbrushes in his studio.
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