scholarly journals A carne das ideias

2020 ◽  
pp. 18-35
Author(s):  
André Goldfeder
Keyword(s):  
Jasper Johns

O artigo parte de um comentário a um dos trabalhos do pintor Jasper Johns dedicados ao tema da voz, Voice (1964-1967). Desse comentário extrai-se uma leitura cruzada com trabalhos de Robert Barry e Valère Novarina, que, a partir de uma região liminar da pintura, evidenciam esse campo artístico como lugar de sucessivas rearticulações ou de contínua produção de limiares e entrelaçamentos entre linguagem, corpo, espaço e pensamento.

JASPER JOHNS:

2008 ◽  
pp. 225-256
Keyword(s):  
Jasper Johns

Readymades

2018 ◽  
Author(s):  
Danielle Child
Keyword(s):  
New York ◽  
John Cage ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Jasper Johns ◽  
Robert Rauschenberg ◽  
The Status ◽  
The 1960S ◽  
Common Understanding ◽  
Bicycle Wheel

In 1916, the French artist Marcel Duchamp coined the term "readymade" to describe a body of his own work in which everyday and often mass-produced objects were given the status of a work of art with little or no intervention by the artist beyond signing and displaying them. He began to produce these works in Paris, beginning with Bottle Rack (1914) and Bicycle Wheel (1913). (Duchamp, however, did not explicitly acknowledge these works until his move to New York in 1915.) These two works present examples of the two distinct types of readymades: readymade unaided and readymade aided. The most well-known readymade is Duchamp’s Fountain (1917), which was famously refused entry into an exhibition with no entry conditions. Much later, Fountain became symbolic of the emergent shift from modernism to postmodernism in the 1960s, with the group of artists who gathered around the composer John Cage, including Robert Rauschenberg and Jasper Johns, sometimes referred to as the neo-avant-garde. It was during this period that Duchamp’s account of the function of the readymade was consolidated into the now common understanding, which is that "readymade" constitutes an object chosen by an artist and declared to be art.

Jasper Johns: 35 years [with] Leo Castelli

1993 ◽  
Vol 31 (01) ◽  
pp. 31-0083-31-0083
Keyword(s):  
Jasper Johns

Octet '61 for Jasper Johns

1962 ◽  
Vol 103 (1427) ◽  
pp. 35 ◽  
Author(s):  
Cornelius Cardew
Keyword(s):  
Jasper Johns

scholarly journals Jasper Johns

2018 ◽  
Author(s):  
Virginia de la Cruz Lichet
Keyword(s):  
Jasper Johns

Interface

2016 ◽  
pp. 572-590
Author(s):  
Michael Jay McClure
Keyword(s):  
Computer Program ◽  
Human Subject ◽  
The Self ◽  
Jasper Johns ◽  
False Start

The argument in this chapter diagrams a subtle relationship between screen and dance in showing how video artist Pipilotti Rist and choreographer Jonah Bokaer create works where the screen invades the event itself, or, perhaps, is inextricable from it. In Rist’s installation Ever Is Over All there are videos that seem acutely aware of their status as such while a woman appears in the supersaturated colors particular to the medium and subverts while capitalizing on expectations associated with the home movie. Choreographer Jonah Bokaer and his solo dance False Start make the viewer acutely aware of the computer program that generated the movement, the painting by Jasper Johns that inspired it, and, on various stages, a host of screens the dancer interacts with. Bokaer’s choreography seems to suggest that the screens shape not only the movement, but also the image, and imaginary status, of the human subject and the self.

Sign in / Sign up

Export Citation Format

Share Document