.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Property from the Collection of Mary & John Pappajohn
JASPER JOHNS (B. 1930)
0 through 9
细节
JASPER JOHNS (B. 1930)
0 through 9
signed and dated 'J. Johns '61' (on the reverse)
Sculp-metal and collage on canvas with Sculp-metal on wood frame
26 5/8 x 20 5/8 in. (67.6 x 52.4 cm.)
Executed in 1961.
0 through 9
signed and dated 'J. Johns '61' (on the reverse)
Sculp-metal and collage on canvas with Sculp-metal on wood frame
26 5/8 x 20 5/8 in. (67.6 x 52.4 cm.)
Executed in 1961.
来源
Leo Castelli Gallery, New York and Galerie Rive Droite, Paris
Georges Marci, Gstaad, Switzerland, 1961
Svensk-Franska Konstgalleriet, Stockholm
Carl-Fredrik Reuterswärd, Bussigny-près-Lausanne, Switzerland, 1963
Matthew Marks Gallery, New York
Acquired from the above by the late owners, 2004
Georges Marci, Gstaad, Switzerland, 1961
Svensk-Franska Konstgalleriet, Stockholm
Carl-Fredrik Reuterswärd, Bussigny-près-Lausanne, Switzerland, 1963
Matthew Marks Gallery, New York
Acquired from the above by the late owners, 2004
出版
J. Ashbery, "Paris Summer Notes," Art International, vol. 5, no. 8, 20 October 1961, pp. 89-92.
M. Kozloff, Jasper Johns, New York, 1969, n.p., pl. 82 (illustrated).
R. Bernstein, Jasper Johns' Paintings and Sculptures, 1954-1974, Ann Arbor, 1985, p. 27.
Jasper Johns: Numbers, exh. cat., Cleveland Museum of Art, 2003, p. 25.
R. Bernstein, H. Colsman-Freyberger, C. Sweeney and B. S. Zinn, Jasper Johns: Catalogue Raisonné of Painting and Sculpture, Volume 1, Jasper Johns's Painting and Sculpture, 1954-2014: Redo An Eye, New Haven and London, 2016, pp. 59 and 96.
R. Bernstein, H. Colsman-Freyberger, C. Sweeney and B. S. Zinn, Jasper Johns: Catalogue Raisonné of Painting and Sculpture, Volume 2, Painting, 1954-1970, New Haven and London, 2016, pp. 202-203, no. P101 (illustrated).
R. Bernstein, H. Colsman-Freyberger, C. Sweeney and B. S. Zinn, Jasper Johns: Catalogue Raisonné of Painting and Sculpture, Volume 5, Reference, New Haven and London, 2016, p. 127, no. P101 (illustrated).
M. Kozloff, Jasper Johns, New York, 1969, n.p., pl. 82 (illustrated).
R. Bernstein, Jasper Johns' Paintings and Sculptures, 1954-1974, Ann Arbor, 1985, p. 27.
Jasper Johns: Numbers, exh. cat., Cleveland Museum of Art, 2003, p. 25.
R. Bernstein, H. Colsman-Freyberger, C. Sweeney and B. S. Zinn, Jasper Johns: Catalogue Raisonné of Painting and Sculpture, Volume 1, Jasper Johns's Painting and Sculpture, 1954-2014: Redo An Eye, New Haven and London, 2016, pp. 59 and 96.
R. Bernstein, H. Colsman-Freyberger, C. Sweeney and B. S. Zinn, Jasper Johns: Catalogue Raisonné of Painting and Sculpture, Volume 2, Painting, 1954-1970, New Haven and London, 2016, pp. 202-203, no. P101 (illustrated).
R. Bernstein, H. Colsman-Freyberger, C. Sweeney and B. S. Zinn, Jasper Johns: Catalogue Raisonné of Painting and Sculpture, Volume 5, Reference, New Haven and London, 2016, p. 127, no. P101 (illustrated).
展览
Paris, Galerie Rive Droite, Jasper Johns: Peintures et sculptures et dessins et lithos, June-July 1961.
Stockholm, Svensk-Franska Konstgalleriet, Sju amerikaner, en engelsman, October 1965, n.p., no. 6 (illustrated; titled and dated Chiffre 0-9, 1962).
Basel, Galerie Beyeler, Lettres et chiffres / Schrift im Bild, March-May 1980, n.p., no. 31 (illustrated).
Staatsgalerie Stuttgart, Magie der Zahl in der Kunst des 20. Jahrhunderts, February-May 1997, pp. 79 and 256, no. 3.6 (illustrated).
Stockholm, Svensk-Franska Konstgalleriet, Sju amerikaner, en engelsman, October 1965, n.p., no. 6 (illustrated; titled and dated Chiffre 0-9, 1962).
Basel, Galerie Beyeler, Lettres et chiffres / Schrift im Bild, March-May 1980, n.p., no. 31 (illustrated).
Staatsgalerie Stuttgart, Magie der Zahl in der Kunst des 20. Jahrhunderts, February-May 1997, pp. 79 and 256, no. 3.6 (illustrated).
更多详情
Executed in 1961, Jasper Johns’s 0 through 9 is the original Sculp-metal painting from the artist’s first European show, held in Paris at the Galerie Rive Droite in the summer of 1961. Each numeral from zero to nine has been cut from Sculp-metal, with each layered atop the next, allowing the viewer to see “through” the numbers, creating a beautiful abstract pattern but also distorting the numbers’ individual legibility. The result is a form of Pop Art that is also quintessentially “Johns,” wherein the malleability of the aluminum-like material maintains its crisp edge, and yet also displays the subtle impressions of the artist’s hand.
Like his paintings of flags and targets, numbers proved to be a fruitful and long-running motif for Johns. These “things the mind already knows” were “seen” but never truly “looked at,” and thereby offered up myriad new possibilities to explore (J. Johns, quoted by www.guggenheim.org [accessed 3/26/2024]). The motif developed from a drawing Johns began in 1959, in which he drew a consecutive series of numbers, beginning with zero and proceeding to nine, one atop the next in an overlapping arrangement. Many of the 0 through 9 paintings as well as aluminum reliefs are now in major museum collections, including the Whitney Museum of American Art, New York, the Hirshhorn Museum and Sculpture Garden, Washington, D.C., the Tate in London and the Museum of Modern Art in New York.
The present 0 through 9 is the original painting that Johns made between late Winter and early Spring of 1961, while living in his new home in Edisto Beach, South Carolina. It is the only painting in the series to have been made from Sculp-metal, a kind of flexible putty-like material made by mixing vinyl resin with aluminum powder. The subtle sheen imparted by the metallic surface adds yet another interpretive layer to the already dynamic presentation of 0 through 9, which Johns must have enjoyed, and the uniformity of the silvery surface is accentuated with the delicate impressions made by the artist’s hand as he applied each layer.
In 0 through 9, the empirical authority of Arabic numerals provides the preexisting concept for Johns to explore. Beginning with the number “0” and progressing through the sequence to end with the number “9,” Johns built up the painting slowly over time. Each numeral has been cut from the Sculp-metal putty (which Johns spread onto sheets of paper and allowed to dry). Each is equally scaled in height and width to fit its frame. Allowing the natural curvature of the numbers to proliferate and multiply, Johns embraced the abstract design of the numerals, and thereby blurred the distinction between each one. Through the Sculp-metal technique, Johns found a way to imbue painting with the patina of silver, and thereby invoked the fineness and rarity of precious metals. A constant juxtaposition, the numbers appear both volumetric and flat, a unique quality in this painting that embraces a host of opposing forces – painting vs. sculpture, legible vs. illegible, and tradition vs. modernity.
In 1955, soon after he completed his first Flag and Target paintings, Johns began to produce works based on numbers. Already at this early date, Johns’s sold-out exhibit at Leo Castelli’s Gallery in 1958 had proclaimed him the new voice of his generation, effectively ushering in a new movement, in which early Pop Art supplanted the old-guard Abstract Expressionists. At the Castelli show in 1958, Johns displayed the paintings that announced his now-iconic subjects – flags, targets, letters of the alphabet and numbers. With the 0 through 9 series, Johns set as his task the impossibility of sculpting what is essentially an abstract concept. Numbers and letters do not actually exist as entities in their own right – they have no real shape or form unless written on the page. For the authors of Johns’s catalogue raisonné, his explorations of numerical cyphers embody his “inventive probing of the nature of visual and verbal signs,” in which “the dynamic interplay of elements results in a fluctuating spatial zone” (R. Bernstein, ed., Jasper Johns: Catalogue Raisonné of Painting and Sculpture, Volume 1, Jasper Johns's Painting and Sculpture, 1954-2014: Redo An Eye, New Haven and London, 2016, p. 57).
Like an ancient scribe set before his task, Johns invokes the enduring durability and permanence of fine metals, in conjunction with the authority of empirical fact, but in his hands the painting becomes a palimpsest, where the numbers lose all of their rational meaning. Although the painting has been made from an industrial-like material and the outline of the numbers is crisp and authoritative, the hand-cut and collaged elements retain a vulnerability and tenderness that belies their industrial and utilitarian roots. Around this time, Johns had been reading about Ludwig Wittgenstein’s philosophy of language and began to systematically explore the “illogicality” of logic in his own work. 0 through 9 is therefore one of his most important painterly explorations of these issues. By removing these familiar forms from their usual context and focusing on their formal qualities, in 0 through 9 Johns calls attention to their essence as both as a familiar signpost that permeates contemporary life and as potentially charged entities embedded in our cultural psyche.
Like his paintings of flags and targets, numbers proved to be a fruitful and long-running motif for Johns. These “things the mind already knows” were “seen” but never truly “looked at,” and thereby offered up myriad new possibilities to explore (J. Johns, quoted by www.guggenheim.org [accessed 3/26/2024]). The motif developed from a drawing Johns began in 1959, in which he drew a consecutive series of numbers, beginning with zero and proceeding to nine, one atop the next in an overlapping arrangement. Many of the 0 through 9 paintings as well as aluminum reliefs are now in major museum collections, including the Whitney Museum of American Art, New York, the Hirshhorn Museum and Sculpture Garden, Washington, D.C., the Tate in London and the Museum of Modern Art in New York.
The present 0 through 9 is the original painting that Johns made between late Winter and early Spring of 1961, while living in his new home in Edisto Beach, South Carolina. It is the only painting in the series to have been made from Sculp-metal, a kind of flexible putty-like material made by mixing vinyl resin with aluminum powder. The subtle sheen imparted by the metallic surface adds yet another interpretive layer to the already dynamic presentation of 0 through 9, which Johns must have enjoyed, and the uniformity of the silvery surface is accentuated with the delicate impressions made by the artist’s hand as he applied each layer.
In 0 through 9, the empirical authority of Arabic numerals provides the preexisting concept for Johns to explore. Beginning with the number “0” and progressing through the sequence to end with the number “9,” Johns built up the painting slowly over time. Each numeral has been cut from the Sculp-metal putty (which Johns spread onto sheets of paper and allowed to dry). Each is equally scaled in height and width to fit its frame. Allowing the natural curvature of the numbers to proliferate and multiply, Johns embraced the abstract design of the numerals, and thereby blurred the distinction between each one. Through the Sculp-metal technique, Johns found a way to imbue painting with the patina of silver, and thereby invoked the fineness and rarity of precious metals. A constant juxtaposition, the numbers appear both volumetric and flat, a unique quality in this painting that embraces a host of opposing forces – painting vs. sculpture, legible vs. illegible, and tradition vs. modernity.
In 1955, soon after he completed his first Flag and Target paintings, Johns began to produce works based on numbers. Already at this early date, Johns’s sold-out exhibit at Leo Castelli’s Gallery in 1958 had proclaimed him the new voice of his generation, effectively ushering in a new movement, in which early Pop Art supplanted the old-guard Abstract Expressionists. At the Castelli show in 1958, Johns displayed the paintings that announced his now-iconic subjects – flags, targets, letters of the alphabet and numbers. With the 0 through 9 series, Johns set as his task the impossibility of sculpting what is essentially an abstract concept. Numbers and letters do not actually exist as entities in their own right – they have no real shape or form unless written on the page. For the authors of Johns’s catalogue raisonné, his explorations of numerical cyphers embody his “inventive probing of the nature of visual and verbal signs,” in which “the dynamic interplay of elements results in a fluctuating spatial zone” (R. Bernstein, ed., Jasper Johns: Catalogue Raisonné of Painting and Sculpture, Volume 1, Jasper Johns's Painting and Sculpture, 1954-2014: Redo An Eye, New Haven and London, 2016, p. 57).
Like an ancient scribe set before his task, Johns invokes the enduring durability and permanence of fine metals, in conjunction with the authority of empirical fact, but in his hands the painting becomes a palimpsest, where the numbers lose all of their rational meaning. Although the painting has been made from an industrial-like material and the outline of the numbers is crisp and authoritative, the hand-cut and collaged elements retain a vulnerability and tenderness that belies their industrial and utilitarian roots. Around this time, Johns had been reading about Ludwig Wittgenstein’s philosophy of language and began to systematically explore the “illogicality” of logic in his own work. 0 through 9 is therefore one of his most important painterly explorations of these issues. By removing these familiar forms from their usual context and focusing on their formal qualities, in 0 through 9 Johns calls attention to their essence as both as a familiar signpost that permeates contemporary life and as potentially charged entities embedded in our cultural psyche.
荣誉呈献
Emily Kaplan
Senior Vice President, Senior Specialist, Co-Head of 20th Century Evening Sale