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Ale Cans
細節
JASPER JOHNS (B. 1930)
Ale Cans
lithograph in colors, on Japon paper, 1964, signed and dated in pencil, numbered 2⁄31 (there were also two artist's proofs), published by Universal Limited Art Editions, West Islip, New York, with their blindstamp, with full margins, in generally very good condition, framed
Image: 14 ¼ x 11 1⁄8 in. (362 x 283 mm.)
Sheet: 22 5⁄8 x 17 ¾ in. (575 x 451 mm.)
Ale Cans
lithograph in colors, on Japon paper, 1964, signed and dated in pencil, numbered 2⁄31 (there were also two artist's proofs), published by Universal Limited Art Editions, West Islip, New York, with their blindstamp, with full margins, in generally very good condition, framed
Image: 14 ¼ x 11 1⁄8 in. (362 x 283 mm.)
Sheet: 22 5⁄8 x 17 ¾ in. (575 x 451 mm.)
出版
Universal Limited Art Editions 20; Sparks 56
更多詳情
In Jasper Johns' Ale Cans (1964), the artist returned to the subject from his infamous sculpture titled Painted Bronze (1960). The subject was inspired by Willem de Kooning's remark about New York gallerist Leo Castelli: "You could give that son of a bitch two beer cans and he could sell them." In Johns' print and sculpture, the artist explored subtle differences between seemingly identical objects. For the lithograph, Johns further developed his idea of tension between related objects by indicating a distinction between the print and the sculpture. In regards to the printing process, Richard Field, the preeminent Johns print scholar, noted, "An interval of several months separated the execution of the first six stones and the seventh, the delicate border in black. The importance of this broken line should not be underestimated, for it at once separates and unites the image and the flatness of the paper." The time lapse between the stones used to create the work suggests Johns struggled with the problem of how to avoid simply executing the same subject as a print and therefore creating a rote copy of an object. His solution was the border: the broken up lines at the edge of the image emphasize that the work presents only the illusion of a three-dimensional space. Furthermore, the border reiterates that the object is a flat work on paper.
榮譽呈獻
Lindsay Griffith
Head of Department