American artist Jasper Johns frequently incorporated commonplace imagery, such as flags, maps, and targets, into his work. His series of target paintings and sculptures, some incorporating casts of body parts made from plaster, represent a significant departure from Abstract Expressionism, the dominant art movement of the time. These works challenge traditional notions of representation and meaning by blurring the lines between painting and sculpture, and by presenting familiar objects in a new and thought-provoking context. The incorporation of plaster casts adds a layer of tactile, three-dimensional reality, juxtaposed against the flat, graphic nature of the target motif.
These works are significant for their contribution to the development of Pop Art and subsequent art movements. They anticipate the focus on everyday objects and the questioning of artistic conventions that characterized later artistic developments. The use of readily recognizable imagery, combined with Johns’s innovative techniques, helped pave the way for a new understanding of artistic subject matter and its relationship to the viewer. The plaster casts add a further layer of complexity, introducing elements of the human form and suggesting a connection between the symbolic target and human experience.
Further exploration of Johns’s oeuvre reveals the depth and complexity of his artistic practice. Examining related themes, such as his use of encaustic painting and his engagement with ideas of representation and abstraction, provides a richer understanding of his artistic contributions. Additionally, considering the broader art historical context in which Johns worked illuminates the significance of his innovations.
1. Iconography of the target
The target, a symbol laden with meaning, takes on a multi-layered significance in Jasper Johns’s work. Its inherent associations with aiming, focus, and a central point resonate within his artistic explorations. While a target typically suggests a clear objective, Johns complicates this straightforward interpretation. In his hands, the target transcends its conventional meaning, becoming a vehicle for examining perception, representation, and the nature of art itself. By rendering the target in various mediums and incorporating elements like plaster casts of body parts, Johns transforms a common symbol into a complex and thought-provoking image. This challenges viewers to question their assumptions about both the target and the art object itself. The very act of looking at a target implies a directed gaze, a focus; Johns plays with this inherent directionality, prompting viewers to consider their own role in the act of seeing and interpreting art.
The use of the target motif in conjunction with plaster casts introduces a layer of vulnerability and human presence. The target, often associated with precision and detachment, is juxtaposed with the fragmented human form, suggesting a tension between the impersonal and the deeply personal. This contrast encourages reflection on the human condition in a world increasingly dominated by systems and structures. For instance, in “Target with Plaster Casts” (1955), the casts of body parts arranged around the periphery of the target create a sense of fragmentation and displacement, perhaps alluding to the challenges of individual identity in modern society. This combination of elements allows Johns to explore themes of vulnerability, the body as a target, and the potential for both physical and psychological fragmentation.
Ultimately, Johns’s use of the target motif goes beyond mere representation. He employs the target not as a subject in itself, but as a framework for exploring broader artistic and philosophical concerns. By challenging conventional interpretations of this familiar symbol and combining it with unexpected elements like plaster casts, Johns invites viewers to question their preconceived notions about art, perception, and the human experience. His work prompts a deeper engagement with the act of seeing and understanding, pushing the boundaries of what art can be and how it can function in the world.
2. Use of plaster casts
Jasper Johns’s incorporation of plaster casts, particularly in his target works, represents a significant departure from traditional artistic practices and contributes to the layered meanings embedded within these pieces. The casts, often of body partsfaces, hands, feetintroduce an element of the human form into an otherwise abstract or symbolic composition. This juxtaposition generates tension and prompts reflection on the relationship between the individual and the impersonal nature of the target. The casts, inherently three-dimensional, also disrupt the flatness of the canvas, adding a tactile quality and challenging the conventional boundaries between painting and sculpture. This merging of mediums further underscores Johns’s interest in blurring artistic categories and exploring the complexities of representation.
The choice of body parts for these casts is not arbitrary. By fragmenting the human form, Johns emphasizes vulnerability and the potential for both physical and psychological targeting. For example, in “Target with Plaster Casts” (1955), the arrangement of casts around the target’s periphery creates a sense of dismemberment, suggesting a world where individuals are fragmented and potentially exposed. This fragmentation resonates with the post-war anxieties of the 1950s and the Cold War era, a period marked by both physical and ideological threats. The plaster itself, a material associated with reproduction and molding, further reinforces the idea of the body as a subject to external forces, potentially objectified and reduced to its component parts. The seemingly impersonal nature of the target, combined with the intensely personal presence of body parts, amplifies the work’s unsettling impact.
Johns’s use of plaster casts in his target works offers a compelling example of his innovative approach to art making. The casts serve not merely as decorative elements but as integral components that contribute to the works’ complex meanings. They invite viewers to consider the relationship between the individual and society, the nature of representation, and the challenges of maintaining a coherent sense of self in a fragmented world. By incorporating everyday materials and familiar symbols, and transforming them through his artistic process, Johns creates works that resonate deeply with viewers and continue to challenge conventional understandings of art.
3. Challenge to Abstract Expressionism
Jasper Johns’s target paintings, particularly those incorporating plaster casts, represent a significant departure from the dominant artistic style of the mid-20th century, Abstract Expressionism. While Abstract Expressionists prioritized emotional expression and gestural abstraction, Johns turned toward recognizable imagery and explored the complexities of representation. His work, therefore, posed a direct challenge to the prevailing artistic conventions and helped pave the way for new artistic movements like Pop Art.
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Rejection of Subjectivity
Abstract Expressionism emphasized the artist’s inner emotional state as the primary subject matter. Johns’s use of pre-existing, readily identifiable images like targets countered this focus on subjectivity. The target, an impersonal and widely understood symbol, shifted the emphasis away from the artist’s emotional outpourings and towards a more objective engagement with the external world. The inclusion of plaster casts, while introducing a human element, further complicates this dynamic by presenting the body as fragmented and objectified rather than as a source of subjective expression.
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Emphasis on Objectivity and Impersonality
Johns’s choice of subject matter promoted a sense of objectivity and impersonality. By depicting familiar objects devoid of expressive brushwork or emotional charge, he distanced himself from the intensely personal narratives characteristic of Abstract Expressionism. The target, with its inherent associations with precision and detachment, exemplifies this shift towards a cooler, more detached artistic approach. The plaster casts, while derived from the human form, are presented as fragmented and impersonal objects, further reinforcing this distancing effect.
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Questioning Artistic Conventions
Abstract Expressionism, with its emphasis on gestural abstraction and large-scale canvases, established a set of artistic conventions that Johns deliberately challenged. His embrace of recognizable imagery and his exploration of the interplay between painting and sculpture defied the prevailing norms. The inclusion of plaster casts further blurred the lines between artistic mediums, pushing the boundaries of what was considered acceptable in painting and sculpture. This questioning of established artistic practices paved the way for subsequent artistic developments that embraced everyday objects and challenged traditional notions of artistic expression.
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Shifting Focus from Process to Image
While Abstract Expressionists often emphasized the process of artmaking, with visible brushstrokes and gestural marks revealing the artist’s hand, Johns’s work shifted the focus towards the image itself. The target, a pre-existing and readily recognizable form, minimized the emphasis on the artist’s individual gesture. The plaster casts, while evidencing a process of creation, ultimately present as finished objects integrated into the composition. This shift in emphasis from process to image anticipated the focus on imagery that would characterize Pop Art and subsequent movements.
Through these key distinctions, Johnss target paintings with plaster casts offered a powerful counterpoint to Abstract Expressionism, effectively ushering in a new era in art history that embraced recognizable imagery, questioned traditional artistic conventions, and explored new avenues for artistic expression. This shift in artistic focus significantly impacted subsequent movements and continues to influence contemporary art practices.
4. Precursor to Pop Art
Jasper Johns’s work, particularly his target paintings with plaster casts, is frequently cited as a precursor to Pop Art. While not fully embracing the movement’s later emphasis on mass media and consumer culture, Johns’s focus on everyday objects and his rejection of Abstract Expressionism’s subjective focus anticipated key aspects of Pop Art’s aesthetic and philosophical underpinnings. His engagement with recognizable imagery and his exploration of new artistic techniques laid the groundwork for the Pop artists’ embrace of popular culture and their challenge to traditional artistic hierarchies.
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Elevation of the Mundane
Johns’s choice of commonplace subjects, such as targets, flags, and numbers, challenged the prevailing artistic emphasis on subjective expression and high-art themes. By elevating these mundane objects to the status of fine art, he paved the way for Pop artists like Andy Warhol and Roy Lichtenstein, who embraced images from mass media, advertising, and consumer culture. The target, with its inherent familiarity and lack of traditional artistic significance, became a potent symbol of this shift towards appreciating the everyday.
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Impersonal Approach to Subject Matter
Unlike Abstract Expressionists, who imbued their work with personal emotion, Johns adopted a detached, impersonal approach to his chosen subjects. This objective treatment of recognizable imagery anticipated the cool, detached irony that characterized much of Pop Art. The plaster casts, while originating from the human form, further underscore this detachment, presenting fragmented body parts as objects rather than expressions of individual emotion or experience. This impersonal approach allowed for a focus on the image itself, rather than the artist’s subjective interpretation, a key characteristic of Pop Art.
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Challenging Traditional Artistic Conventions
Johns’s artistic practice challenged established artistic conventions, particularly those of Abstract Expressionism. His use of recognizable imagery, combined with his exploration of new techniques like encaustic and the incorporation of found objects like plaster casts, broke down traditional hierarchies between high art and popular culture. This blurring of boundaries anticipated Pop Art’s embrace of mass-produced imagery and its rejection of traditional artistic mediums and techniques.
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Focus on Reproduction and Repetition
Johns’s repeated use of the target motif, often in series or with variations, foreshadowed Pop Art’s fascination with reproduction and repetition. While not engaging with mass-produced images in the same way as Warhol’s Campbell’s Soup cans, Johns’s exploration of a single image across multiple works anticipated Pop Art’s engagement with the proliferation of images in contemporary culture. The process of creating plaster casts, inherently a form of reproduction, further reinforces this theme.
Johns’s target paintings with plaster casts stand as a pivotal link between Abstract Expressionism and Pop Art. His focus on everyday objects, impersonal approach to subject matter, challenge to artistic conventions, and exploration of repetition laid the groundwork for the Pop Art movement’s embrace of mass culture and its redefinition of artistic subject matter. While Johns maintained a distinct artistic vision, his innovations resonated with the emerging cultural shifts of the 1950s and 1960s, anticipating the key characteristics that would define Pop Art and its lasting impact on the art world.
5. Merging painting and sculpture
Jasper Johns’s Target with Plaster Casts series exemplifies a crucial development in 20th-century art: the blurring of boundaries between painting and sculpture. These works challenge traditional categorizations by incorporating three-dimensional elements into the traditionally two-dimensional realm of painting, prompting a reconsideration of the definitions and limitations of each medium. This merging of disciplines reflects a broader artistic trend toward challenging established conventions and exploring new modes of artistic expression. By integrating plaster casts into his target paintings, Johns disrupts the viewer’s expectations and encourages a more active engagement with the artwork.
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Disruption of the Picture Plane
The incorporation of plaster casts disrupts the flatness of the traditional picture plane. The casts project outward from the canvas, creating a tangible, three-dimensional presence that contrasts with the flat, painted surface of the target. This interplay between two and three dimensions challenges the viewer’s perception of space and depth within the artwork, forcing a reconsideration of the painting’s boundaries and its relationship to the surrounding environment. This disruption is not merely a formal exercise but contributes to the overall meaning of the work, suggesting a fragmentation of both the image and the human form.
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Tactility and Materiality
The plaster casts introduce a tactile element that contrasts with the smooth surface of the painted canvas. The rough, uneven texture of the casts invites a physical, sensory engagement with the artwork, encouraging viewers to move beyond purely visual appreciation. This emphasis on materiality underscores the physicality of the human body, represented by the fragmented casts, and its relationship to the symbolic target. The viewer is reminded that the artwork is not merely an illusion but a physical object with tangible properties.
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Shifting Perceptions of Representation
The combination of painting and sculpture challenges traditional notions of representation. The painted target, a flat, symbolic image, is juxtaposed with the three-dimensional casts of body parts, introducing an element of realism and physical presence. This interplay between abstraction and representation complicates the viewer’s understanding of the subject matter. The fragmented body parts become both literal and symbolic, prompting reflections on the human condition and the potential for both physical and psychological fragmentation.
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Expansion of Artistic Possibilities
Johns’s merging of painting and sculpture opens up new possibilities for artistic expression. By breaking down traditional barriers between mediums, he creates a hybrid form that allows for a more complex and nuanced exploration of his chosen themes. This experimentation with form and material anticipates later artistic developments that embraced mixed media and challenged the limitations of traditional artistic categories. The incorporation of plaster casts is not merely a stylistic choice but a crucial element in conveying the complex meanings embedded within Johns’s work.
By incorporating plaster casts into his target paintings, Johns transcends the limitations of a single medium and creates works that engage the viewer on multiple levels. This fusion of painting and sculpture enhances the thematic complexity of the works, prompting reflection on the nature of representation, the fragmentation of the human form, and the interplay between the physical and the symbolic. This innovative approach positions Johns as a key figure in the development of 20th-century art, influencing subsequent generations of artists who continued to explore the boundaries between different artistic disciplines.
6. Everyday objects as subject matter
Jasper Johns’s use of everyday objects as subject matter, exemplified by his Target with Plaster Casts series, marks a significant shift in artistic practice. This approach challenges traditional artistic hierarchies that privileged historical, mythological, or religious themes, instead focusing on the commonplace and readily recognizable. By elevating mundane objects to the realm of fine art, Johns encourages viewers to reconsider their perceptions of the world around them and the very nature of artistic representation. This focus on the everyday anticipates and influences subsequent art movements, particularly Pop Art, and continues to resonate in contemporary artistic practice.
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The Target as Readymade Symbol
The target, a ubiquitous symbol in contemporary society, functions as a “readymade” image, pre-existing and readily understood. Its familiarity allows Johns to bypass traditional artistic concerns with representation and delve into more complex questions of perception and meaning. The target’s inherent associations with aiming, focus, and a central point provide a framework for exploring broader themes related to individual agency and the act of looking itself. In the context of Target with Plaster Casts, the target’s impersonal nature contrasts sharply with the fragmented human forms, creating a tension that underscores the vulnerability of the individual within modern systems and structures.
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Plaster Casts: Bridging the Familiar and the Uncanny
The use of plaster casts of body parts further emphasizes the theme of the everyday. Casting, a process often associated with reproduction and medical practice, transforms familiar elements of the human form into somewhat uncanny objects. This juxtaposition of the familiar and the unsettling heightens the viewer’s awareness of the body’s fragility and its potential objectification. The casts’ presence alongside the target motif introduces a layer of human vulnerability, contrasting with the target’s impersonal nature.
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Challenging Traditional Notions of Beauty
Johns’s choice of everyday objects challenges traditional notions of artistic beauty. The target, devoid of inherent aesthetic qualities typically associated with fine art, becomes a site for exploring artistic meaning beyond conventional notions of beauty or sublimity. The plaster casts, fragmented and imperfect, further disrupt traditional aesthetic ideals. This challenge to established artistic values anticipates Pop Art’s embrace of mass-produced imagery and its celebration of the mundane.
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Democratization of Art
By focusing on everyday objects, Johns contributes to the democratization of art. The accessibility of his chosen subject matter allows for a broader audience to engage with his work, breaking down traditional barriers between high art and popular culture. The target, a universally recognized symbol, transcends cultural and social boundaries, allowing for a more inclusive and accessible artistic experience. The addition of plaster casts of body parts, while potentially unsettling, further connects the work to shared human experiences.
Johns’s use of everyday objects in Target with Plaster Casts demonstrates a profound shift in artistic thinking. The target and the plaster casts, both readily recognizable yet transformed through artistic intervention, become vehicles for exploring complex themes related to perception, identity, and the human condition. This approach expands the possibilities of artistic subject matter and lays the foundation for subsequent artistic movements that embrace the everyday and challenge traditional artistic hierarchies.
7. Encaustic technique
Jasper Johns’s masterful use of encaustic painting significantly contributes to the distinctive aesthetic and conceptual depth of his Target with Plaster Casts series. Encaustic, a technique involving pigment mixed with hot beeswax, provides a unique surface quality and allows for a layered, almost sculptural approach to painting. This ancient technique, revived by Johns, is not merely a stylistic choice but an integral component of the works’ meaning, enhancing the interplay between the target motif, the plaster casts, and the viewer’s perception.
The encaustic medium allows for a build-up of textured surfaces, creating a rich, tactile quality that complements the three-dimensionality of the plaster casts. The wax’s translucence allows for layering and depth, giving the paintings a luminous quality that shifts with changing light conditions. This luminosity enhances the target’s symbolic presence, drawing the viewer’s eye and creating a sense of depth within the seemingly flat surface. The encaustic’s physicality also reinforces the materiality of the plaster casts, further blurring the line between painting and sculpture. For example, in “Target with Plaster Casts” (1955), the encaustic surface both unifies and contrasts with the plaster elements, creating a dynamic interplay between the two mediums. The subtle variations in texture and translucency within the encaustic surface create an interplay of light and shadow that further enhances the three-dimensionality of the casts and the overall composition.
The encaustic technique contributes to the works’ complexity by allowing Johns to embed objects and materials within the wax. This embedding process is evident in the Target with Plaster Casts series, where the plaster casts are integrated seamlessly into the encaustic surface, creating a unified yet multi-layered work. The encaustic acts as both a binder and a surface, blurring the boundaries between the painted target and the sculpted elements. This fusion of mediums challenges traditional notions of painting and sculpture, inviting viewers to reconsider the limitations of artistic categories. Furthermore, the encaustic’s inherent archival qualities contribute to the works’ longevity, preserving the vibrant colors and intricate details of the target motif and the delicate plaster casts for future generations. The encaustic medium, therefore, not only contributes to the aesthetic and conceptual richness of Johns’s Target with Plaster Casts series but also ensures the preservation of these pivotal works of 20th-century art. By understanding the properties and possibilities of encaustic, one gains a deeper appreciation for the complexity and enduring significance of Johns’s artistic innovations.
8. Representation and abstraction
Jasper Johns’s Target with Plaster Casts series serves as a compelling case study in the interplay between representation and abstraction. The target itself, while a recognizable symbol, functions simultaneously as an abstract form. Its concentric circles and segmented divisions evoke a sense of geometric order and visual balance, independent of its symbolic meaning. The plaster casts of body parts, on the other hand, introduce elements of representation, albeit fragmented and decontextualized. This tension between the recognizable and the abstract lies at the heart of Johns’s artistic exploration. He challenges viewers to consider how meaning is constructed through both symbolic representation and formal abstraction. The works resist easy categorization, occupying a space between pure abstraction and straightforward representation. The very act of depicting a recognizable object in an abstract style raises questions about the nature of representation itself. Is the target a symbol, a form, or both? Do the plaster casts represent specific individuals, or do they function as generalized symbols of the human body? These ambiguities invite viewers to actively engage with the works and construct their own interpretations.
The tension between representation and abstraction is further heightened by Johns’s encaustic technique. The textured, layered surface of the encaustic adds an abstract dimension to the work, obscuring and revealing the underlying imagery. The plaster casts, embedded within the encaustic, become integrated into the abstract surface, blurring the lines between the painted target and the sculpted elements. This fusion of mediums emphasizes the interplay between the tangible and the intangible, the representational and the abstract. For instance, in “Target with Plaster Casts” (1955), the fragmented casts of faces, hands, and feet surrounding the target create a sense of both physical presence and symbolic abstraction. These body parts, while recognizable, are decontextualized and fragmented, prompting reflection on the human condition without resorting to traditional portraiture or figurative representation. The target, while clearly recognizable, also functions as a formal composition of circles and lines, inviting viewers to appreciate its abstract qualities alongside its symbolic meaning.
Johns’s exploration of representation and abstraction offers significant insights into the nature of artistic meaning. His work demonstrates that meaning is not fixed but rather constructed through a complex interplay of symbolic representation, formal abstraction, and the viewer’s active engagement. The Target with Plaster Casts series, with its combination of recognizable imagery, fragmented representation, and abstract techniques, challenges viewers to question their assumptions about how art communicates meaning. This interplay continues to resonate in contemporary art, demonstrating the enduring relevance of Johns’s exploration of representation and abstraction. By refusing to privilege one approach over the other, Johns expands the possibilities of artistic expression and invites viewers to actively participate in the creation of meaning.
9. Human form fragmented
The fragmented human form, represented by plaster casts of body parts, plays a crucial role in Jasper Johns’s Target with Plaster Casts series. These fragmented casts, often of faces, hands, and feet, are not presented as whole or idealized figures but as dismembered parts, divorced from their original context. This fragmentation serves several purposes. Firstly, it disrupts the viewer’s expectation of encountering the human form in a traditional, representational manner. Instead of a complete figure, the viewer is confronted with isolated body parts, prompting a sense of incompleteness and displacement. This fragmentation resonates with the anxieties of the post-war era, marked by both physical and psychological fragmentation. The Cold War context, with its ever-present threat of nuclear annihilation, casts a shadow over these works, suggesting the potential for the human body itself to become a target. For example, in “Target with Plaster Casts” (1955), the arrangement of the casts around the periphery of the target evokes a sense of vulnerability and the potential for dismemberment.
Secondly, the fragmentation of the human form underscores the tension between individual identity and the impersonal nature of the target. The target, a symbol of anonymity and standardization, contrasts sharply with the individuality inherent in the human body, even in its fragmented state. This juxtaposition invites reflection on the pressures of conformity and the potential for individual identity to be subsumed by larger systems or ideologies. The plaster casts, while derived from individual bodies, are presented as generic fragments, further emphasizing this tension. The use of casts, rather than direct representations of body parts, adds another layer of complexity. The casting process itself involves reproduction and replication, suggesting the potential for the human form to be replicated and mass-produced, further eroding individual identity. This resonates with the growing consumer culture of the 1950s, where mass-produced goods and images began to shape individual identity and experience.
Finally, the fragmented human form contributes to the complex interplay between representation and abstraction in Johns’s work. The plaster casts, while undeniably representational, also function as abstract forms. Their shapes and textures, divorced from their original context, invite viewers to appreciate them as sculptural elements, independent of their anatomical significance. This interplay between representation and abstraction allows Johns to explore the human form in a way that transcends traditional figurative art. It is not the likeness of the individual that matters but the evocative power of the fragmented form. The fragmented human form in Target with Plaster Casts, therefore, functions as a potent symbol of the individual’s precarious position in the modern world, caught between the impersonal forces of standardization and the enduring desire for self-expression. By fragmenting and decontextualizing the human body, Johns creates a powerful and unsettling commentary on the human condition in the mid-20th century, a period marked by both unprecedented technological advancement and the ever-present threat of destruction.
Frequently Asked Questions about Jasper Johns’s Target with Plaster Casts
This section addresses common inquiries regarding Johns’s iconic Target with Plaster Casts series. The aim is to provide clear, concise information to enhance understanding of these pivotal works within the broader context of 20th-century art.
Question 1: What is the significance of the target motif in Johns’s work?
The target, a familiar and readily recognizable symbol, functions on multiple levels. It represents a pre-existing image divorced from the artist’s subjective expression, challenging the prevailing Abstract Expressionist emphasis on personal emotion. Furthermore, the target’s inherent associations with aiming, focus, and a central point resonate with Johns’s broader artistic explorations of perception and the act of looking.
Question 2: Why did Johns incorporate plaster casts of body parts into his target paintings?
The inclusion of plaster casts introduces a human element, albeit fragmented and objectified, into the otherwise impersonal and abstract composition. This juxtaposition creates a tension between the anonymity of the target and the individuality of the human form, prompting reflection on the relationship between the individual and larger systems or structures. The fragmented body parts also suggest vulnerability and the potential for physical and psychological targeting.
Question 3: How does Johns’s use of encaustic contribute to the meaning of these works?
The encaustic technique, involving pigment mixed with hot beeswax, adds a layered, textured surface that enhances the physicality of the works. The encaustic’s translucence and tactile quality complement the three-dimensionality of the plaster casts, further blurring the lines between painting and sculpture. The process also allows for the embedding of objects, further unifying the composition.
Question 4: How do these works challenge the conventions of Abstract Expressionism?
Johns’s focus on recognizable imagery and his impersonal approach stand in stark contrast to Abstract Expressionism’s emphasis on subjective emotion and gestural abstraction. The use of everyday objects like targets, combined with the incorporation of plaster casts, challenges the prevailing artistic hierarchies and paves the way for new artistic movements, particularly Pop Art.
Question 5: What is the relationship between representation and abstraction in the Target with Plaster Casts series?
These works occupy a space between representation and abstraction. The target, while a recognizable image, also functions as an abstract form. The plaster casts, while representational of body parts, are fragmented and decontextualized, inviting viewers to consider them as both abstract forms and symbolic representations of the human body. This interplay enriches the works’ complexity and invites multiple interpretations.
Question 6: What is the significance of the fragmented human form in these works?
The fragmented body parts, represented by the plaster casts, suggest vulnerability and the potential for both physical and psychological dismemberment. This fragmentation resonates with the anxieties of the post-war era and the Cold War context, hinting at the potential for the human body to become a target. The fragmentation also underscores the tension between individual identity and the impersonal nature of the target, prompting reflection on the pressures of conformity and the potential erosion of individuality.
By exploring these frequently asked questions, one gains a deeper appreciation for the complexity and significance of Johns’s Target with Plaster Casts series. These works represent a pivotal moment in 20th-century art, challenging established conventions and paving the way for new artistic explorations of everyday objects, the human form, and the interplay between representation and abstraction.
Further exploration of Johns’s work and its impact on subsequent art movements provides a richer understanding of his contributions to art history.
Engaging with Johns’s Targets
These tips offer strategies for a deeper understanding of Jasper Johns’s Target with Plaster Casts series. They provide a framework for analyzing the works’ formal elements, symbolic meanings, and historical context. Consider these points as starting points for individual exploration and interpretation.
Tip 1: Consider the historical context. Examine the post-war and Cold War anxieties prevalent during the works’ creation. Explore how the target, a symbol associated with both precision and violence, might resonate within this specific historical moment. Consider the potential for the fragmented body parts to represent the anxieties and uncertainties of the era.
Tip 2: Analyze the interplay of representation and abstraction. Recognize the target’s dual function as both a recognizable symbol and an abstract form. Consider how the plaster casts, while representational of body parts, also function as abstract sculptural elements. Reflect on how this tension enhances the works’ complexity and generates multiple interpretations.
Tip 3: Focus on the materiality of the works. Examine the encaustic technique and its impact on the works’ surface and texture. Consider the interplay between the smooth, luminous surface of the encaustic and the rough, tactile quality of the plaster casts. Reflect on how this interplay between different materials contributes to the overall meaning.
Tip 4: Explore the symbolism of fragmentation. Analyze the significance of the fragmented human form represented by the plaster casts. Consider how this fragmentation relates to themes of vulnerability, individuality, and the potential for the body to become a target. Reflect on the potential connection between this fragmentation and the anxieties of the post-war era.
Tip 5: Investigate the influence of Marcel Duchamp. Research Duchamp’s concept of the “readymade” and its influence on Johns’s choice of subject matter. Consider how the target, like Duchamp’s urinal, functions as a pre-existing object elevated to the status of art. Reflect on how this challenges traditional notions of artistic creation and originality.
Tip 6: Compare and contrast with Johns’s other works. Explore Johns’s other series, such as his flag and number paintings, to identify recurring themes and artistic strategies. Consider how the target paintings relate to his broader exploration of recognizable imagery and the complexities of representation. This comparative analysis can provide deeper insights into the artist’s overall artistic project.
Tip 7: Examine the critical reception of the works. Research how critics and art historians have interpreted the Target with Plaster Casts series over time. Consider different perspectives and interpretations, recognizing that meaning is not fixed but rather constructed through ongoing dialogue and critical engagement.
By engaging with these interpretive strategies, one can develop a more nuanced understanding of Johns’s Target with Plaster Casts and its significance within art history. These tips encourage an active and thoughtful approach to appreciating the complexity and enduring relevance of these iconic works.
A concluding reflection on the lasting impact of Johns’s work provides closure and encourages further exploration of his contributions to the art world.
Jasper Johns’s Target with Plaster Casts: A Lasting Legacy
Jasper Johns’s Target with Plaster Casts series stands as a pivotal achievement in 20th-century art. These works represent a confluence of innovative artistic strategies: the appropriation of commonplace imagery, the merging of painting and sculpture, the exploration of encaustic technique, and the fragmentation of the human form. Through these strategies, Johns challenged prevailing artistic conventions, particularly those of Abstract Expressionism, and anticipated key aspects of Pop Art and subsequent movements. The target motif, imbued with symbolic weight yet presented as a flat, readily recognizable image, invites contemplation on perception, representation, and the nature of art itself. The incorporation of plaster casts of body parts introduces a disquieting human element, suggesting vulnerability and the potential for the body to become a target. The interplay between the target’s impersonal nature and the fragmented human presence creates a tension that resonates with the anxieties of the post-war era.
Johns’s enduring legacy lies in his ability to transform the mundane into the profound. By elevating everyday objects to the realm of high art, he expanded the possibilities of artistic subject matter and challenged viewers to reconsider their perceptions of the world around them. The Target with Plaster Casts series continues to provoke dialogue and inspire new interpretations, demonstrating the enduring power of art to engage with fundamental questions of human experience, identity, and the nature of representation itself. Further exploration of Johns’s broader oeuvre and its impact on subsequent generations of artists offers a richer understanding of his profound contributions to the art world and beyond.
