Be the first to preview An Art of Changes and celebrate with live music by Nooky Jones, DJ sets by Shannon Blowtorch, a drop-in art-making workshop, late night bites, specialty cocktails, and more. Free tickets for members are available through January 31.
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On Fracture and Fraternity: The Many Faces of Jasper Johns
Art historian Isabelle Loring Wallace takes a close look at the recurring motif of the fractured face in Jasper Johns's art, revealing references as disparate as Pablo Picasso's Woman in a Straw Hat, a drawing made by a schizophrenic girl in the 1950s, and a slouching demon in Matthias Grünewald's Isenheim altarpiece.
America and its Afterimage: Jasper Johns, Flags, and Memorial Day
Jasper Johns's Flags (1967–1968) invites viewers to look at two US flags: one in green, black, and orange, the other in grayscale. After gazing on the upper flag then looking at a dot on the gray flag, viewers should see the time-honored red, white, and blue, but only as an afterimage. "What makes this work so compelling," writes Walker Interpretation Fellow Alexandra Nicome in a Memorial Day reflection, "is the simultaneous awe and intimacy we get to experience with this shared symbol. In Johns’s print, a commonplace icon only exists in its 'true' form when I make it in my mind."
How the Walker Art Center Acquired Every Print Jasper Johns Ever Made
In 1987, a New York gallery contacted the Walker with an extraordinary offer: an opportunity to purchase 317 prints by Jasper Johns—everything the artist had produced up to that point. No public institution in the world owned a complete collection of graphic work by Johns—who, it turns out, was the unnamed seller behind the collection. As we open An Art of Changes: Jasper Johns Prints, 1960–2018, curator Joan Rothfuss looks at this extraordinary body of work by an American icon.
