The Whitney has been collecting and showing Johns since the 1960s and we are thrilled to celebrate his extraordinary career. Weinberg, the Whitney’s Alice Pratt Brown Director, commented, “We are delighted to present this unique retrospective together with the Philadelphia Museum of Art, an important occasion for both museums, which have had connections with the artist going back decades. It will chronicle Johns’s accomplishments across many mediums-including paintings, sculpture, drawings, prints, working proofs, and monotypes-and highlight the complex relationships among them.Īdam D. Structured around the principles of mirroring and doubling that have long been a focus of the artist’s work, this two-part exhibition, which follows a loose chronological order from the 1950s to the present, offers an innovative curatorial model for a monographic survey. It is the most comprehensive exhibition ever devoted to Johns, creating an opportunity to highlight not only his well-known masterpieces but also many works that have never been exhibited publicly. Resulting from five years of scholarship and an inventive rethinking of Johns’s art, the exhibition will contain nearly 500 works. It opens concurrently in Philadelphia and in New York on September 29, 2021. A single exhibition in two venues, this unprecedented collaboration, Jasper Johns: Mind/Mirror, will be the artist’s first major museum retrospective on the East Coast in a quarter century. NEW YORK and PHILADELPHIA- The most comprehensive retrospective to date of the work of Jasper Johns, organized by the Philadelphia Museum of Art and the Whitney Museum of American Art, will be presented simultaneously in New York and Philadelphia next fall. At Lincoln Center the public should be able to witness the vitality, the primacy of the creative imagination, not its vulnerability to enticing bids.View PDF of Press Release | View Exhibition Fact Sheet (PDF) | View Related Programs (PDF) Lincoln Center was meant to be a place where the visual and performing arts sustain each other, but not by selling the one off to support the other. The board has an obligation to discuss the offers, but it should reject them. In itself, ''Numbers, 1964'' suggests the marriage of the performing and visual arts that Lincoln Center embodies, for the grid of numbers in the painting is based on the foot length of Merce Cunningham. Johns's only publicly commissioned work, created for its State Theater site at the request of Mr. The difference of course is that a mural or a sculpture or a painting can be removed from its setting and sold outright, and that is precisely what Lincoln Center's board of directors has said it will consider doing with ''Numbers, 1964.'' One or more potential buyers have made unspecified offers for the painting, perhaps as much as $10 million or $15 million. Marc Chagall's murals in the Metropolitan Opera House, Henry Moore's ''Reclining Figure'' in the reflecting pool, Jasper Johns's ''Numbers, 1964'' in the New York State Theater - these and other works are as inseparable from Lincoln Center as Eero Saarinen's design for the Vivian Beaumont Theater or Philip Johnson's design for Lincoln Center Plaza itself. The visual arts have been a vital part of Lincoln Center since its inception, not only as an onstage accompaniment to the performing arts but as a defining element in a visitor's experience of Lincoln Center itself.
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