Rife with allusions to his personal life and art history, they have intrigued scholars because they appear so unforthcoming. In the years afterward, Johns would continue to make paintings and prints that are likewise hard to parse. They helped formalize a turn away from Abstract Expressionism and set the stage for the beginnings of Pop-and made Johns a bona fide star in the process.ĭespite their fame, these works resisted easy interpretation and introduced the whatsit quality that has come to define Johns’s art. Termed Neo-Dada by critics during the ’50s because of the art’s basis in the conceptually slippery sculptures of Marcel Duchamp, these works marked a seismic shift in the New York art world of their day.
In the following decade, Johns went on to create the works that now define his oeuvre: his encaustic paintings of flags, targets, numbers, and maps. “There was a change in my spirit, in my thought and my work, as well as some doubt and terror,” Johns once recalled. He met artist Robert Rauschenberg, with whom he led a romantic relationship, and he was brought into the orbit of experimental composer John Cage and choreographer Merce Cunningham, both of whom enhanced Johns’s understanding of the role that everyday life could play in art.
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Until 1954, Jasper Johns routinely destroyed his artworks, feeling them somehow inadequate.
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