Like drawing a straight line – you draw a straight line and it's crooked and you draw another straight line on top of it and it's crooked a different way and then you draw another one and eventually you have a very rich thing on your hands which is not a straight line.Book A (sketchbook), p 31, c 1963: as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed.He also used 'non' or 'not' – expressive – this is an early problem – a negative solution or – expression of new sense – which can help one into – what one has not known. Donald Judd spoke of a 'neutral' surface, but what is meant? Neutrality must involve some relationship (to other ways of painting, thinking?) He would have to include these in his work to establish the neutrality of that surface.interview at John's studio, Billy Klüver, March 1963, as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed.And since we have the concept of discontinuity it seems to me that it would be more interesting to attempt to establish that. It seems to me that continuity is almost a static concept. it seems to me that you could take the opposite point of view, and say that continuity (in language and in thought, B.K.) is the thing that is so distressing and that what one can do is attempt to create a discontinuous situation. interview at Johns' studio, Billy Klüver, March 1963, as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed.That seems to me more interesting than any other position at this moment – for me anyway. It seems to me that if you avoid everything you can avoid, then you do what you can't avoid doing, and you do what is helpless, and unavoidable. But then that may just be my own psychology, a kind of negative position. I don’t see any point in simply stating something that is easily available. Quote of Johns, from: John Adds Plaster Casts To Focus Target Paintings, Donald Key, Milwaukee Journal, 19 June 1960, pt.I'm especially interested in the music of John Cage.I would like to do some experimenting with the relationship between his freeform sound and free-form art.Book A (sketchbook), p 9, c 1960: as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed.Make something, a kind of object, which as it changes or falls apart (dies as it were) or increases in its parts (grows as it were) offers no clue as to what its state or form or nature was at any previous time.Book A (sketchbook), p 8, c 1960: as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed.Can they 2 be separated? Is one a detail of the other? What is the meeting? Air? The relationship between the object & the event.The Insiders, Rejection en Rediscovery of Man in the Arts of our Time, Selden Rodman, Baton Rouge, Louisiana State University Press, 1960, Chapter 6.The other is: 'You are enabled by the way he has painted it to see it as a flag and not as a painting.' Actually both positions are implicit in the paintings, so you don't have to choose. One position is: 'He's painted a flag so you don't have to think of it as a flag but only as a painting'. Two meanings have been ascribed to these American Flag paintings of mine. The visual meaning may be discovered afterwards – by those who look for it. My work contains similar possibilities for the changing focus of the eye. At every point in nature there is something to see. Both are impure situations, and I prefer neither. His heart belong to DADA, Time 73, 4 May, 1959: 58 as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed.For instance, I've always thought of a painting as a surface painting it in one color made this very clear.A picture ought to be looked at the same way you look at a radiator. That gave me room to work on other levels. So I want on to similar things like the targets things the mind already knows. Using this design took care of a great deal for me because I didn't have to design it. It all began with my painting a picture of an American flag.
John's own comment on his exhibition of the 'Flag, Target and Number' paintings in 1958.were both things - which are seen and not looked at - examined. I made the flags and targets to open men's eyes.Quote from: Abstract Art, Anna Moszynska, Thames and Hudson 1990, p.Quote of Jasper Johns, as cited in Trend to the Anti-Art: Targets and Flags, Newsweek 51 no.He just paints paintings without a conscious reason. I don't think that's a painter's business. I make what it pleases me to make.I have no ideas about what the paintings imply about the world.Quotes of Jasper Johns sorted chronologically, after date of the quotes of Jasper Johns 1950s
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