Jasper Johns. Catherine Craft. Читать онлайн. Newlib. NEWLIB.NET

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Автор:	Catherine Craft
Издательство:	Parkstone International Publishing
Серия:	Temporis
Жанр произведения:	Иностранные языки
Год издания:	2016
isbn:	978-1-78042-997-7, 978-1-78310-772-8

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relative isolation and the changing light created a different set of conditions for his art. But along with these developments came another, less happy change – the end of his relationship with Rauschenberg. Both artists declined to talk about what caused their relationship to end, although friends had seen signs of a growing strain for some months. When the break finally came, it was sufficiently bitter that for many years Johns and Rauschenberg avoided each other’s company.

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Примечания

1

Unless otherwise noted, biographical information about Johns comes from the chronology compiled by Lilian Tone in Kirk Varnedoe, Jasper Johns: A Retrospective (New York: The Museum of Modern Art, 1996).

2

Jasper Johns: Writings, Sketchbook Notes, Interviews, edited by Kirk Varnedoe, compiled by Christel Hollevet (New York: The Museum of Modern Art, 1996), 122. Hereafter in notes JJ: WSNI.

3

JJ: WSNI, 106.

4

Barnett Newman, “The Sublime is Now (1948),” in Barnett Newman, Barnett Newman: Selected Writings and Interviews, John P. O’Neill, ed. (New York: Alfred A. Knopf, 1990), 173.

5

JJ: WSNI, 82.

6

Kirk Varnedoe, “Fire: Johns’s Work as Seen and Used by American Artists,” in Kirk Varnedoe, Jasper Johns: A Retrospective, 96.

Примечания

1

Unless otherwise noted, biographical information about Johns comes from the chronology compiled by Lilian Tone in Kirk Varnedoe, Jasper Johns: A Retrospective (New York: The Museum of Modern Art, 1996).

2

Jasper Johns: Writings, Sketchbook Notes, Interviews, edited by Kirk Varnedoe, compiled by Christel Hollevet (New York: The Museum of Modern Art, 1996), 122. Hereafter in notes JJ: WSNI.

3

JJ: WSNI, 106.

4

Barnett Newman, “The Sublime is Now (1948),” in Barnett Newman, Barnett Newman: Selected Writings and Interviews, John P. O’Neill, ed. (New York: Alfred A. Knopf, 1990), 173.

5

JJ: WSNI, 82.

6

Kirk Varnedoe, “Fire: Johns’s Work as Seen and Used by American Artists,” in Kirk Varnedoe, Jasper Johns: A Retrospective, 96.

7

Emile de Antonio and Mitch Tuchman, Painters Painting: A Candid History of the Modern Art Scene, 1940–1970 (New York: Abbeville Press, 1984), 96.

8

JJ: WSNI, 187.

9

JJ: WSNI, 162–63.

10

JJ: WSNI, 165.

11

JJ: WSNI, 220.

12

JJ: WSNI, 145.

13

JJ: WSNI, 220.

14

Calvin Tomkins, Off the Wall: Robert Rauschenberg and the Art World of Our Time (New York: Doubleday & Company, Inc., 1980; Penguin Books, 1981; reprint, 1985), 96.

15

JJ: WSNI, 165.

16

Johns owns another version of Music Box, but according to the artist, this “was made circa 1959 in imitation of” the earlier work. Rosenthal’s Music Box was covered with glass on one side, whereas Johns’s is not. E-mail correspondence from Johns to the author, 19 and 30 September 2008.

17

Johns, quoted in Walter Hopps, Robert Rauschenberg: The Early 1950s (Houston, Texas: The Menil Collection / Houston Fine Art Press, 1991), 169.

18

JJ: WSNI, 163.

19

Calvin Tomkins, “Everything in Sight: Robert Rauschenberg’s New Life,” The New Yorker (23 May 2005): 76.

20

Joachim Pissarro, Cézanne/Pissarro, Johns/Rauschenberg (Cambridge: Cambridge University Press, 2006), 165–168.

21

JJ: WSNI, 122.

22

De Antonio and Tuchman, 96–97.

23

JJ: WSNI, 122.

24

JJ: WSNI, 165.

25

Michael Crichton, Jasper Johns (New York: Harry N. Abrams, Inc. in association with the Whitney Museum of American Art, 1977; revised and expanded edition, 1994), 29.

26

Crichton, 20.

27

Johns, in a 1999 unpublished interview with Richard S. Field, quoted in Richard Shiff, “Flicker in the Work,” Master Drawings 44, no. 3 (2006), 294.

28

JJ: WSNI, 81.

29

JJ: WSNI, 87.

30

JJ: WSNI, 145.

31

De Antonio and Tuchman, 99.

32

Harry Cooper made these observations in a talk at the Metropolitan Museum of Art, New York, on 2 March 2008.

33

JJ: WSNI, 82.

34

JJ: WSNI, 106.

35

Tomkins, Off the Wall, 119.

36

James Rondeau, “Jasper Johns: Gray” in James Rondeau and Douglas Druick, Jasper Johns Gray (Chicago / New Haven, Conn. and London: Art Institute of Chicago / Yale University Press, 2007), 45–47.

37

Cage, quoted in Mary Lynn Kotz, Rauschenberg: Art and Life (New York: Harry N. Abrams, Inc., 1990), 89.

38

Robert Rosenblum, “Castelli Group,” Arts 31 (May 1957): 53, and “Cover,” Art News 56 (January 1958): 5, respectively.

39

JJ:

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