Jasper Johns, ‘Target’, Christie's

Jasper Johns (b. 1930)

Target

signed, titled and dated 'J. Johns TARGET 1960' (lower center)

graphite, paint brush and dry watercolor cakes on paper in wood frame

8 3/4 x 5 3/4 x 2 1/2 in. (19.7 x 13.9 x 6.4 cm.)

Executed in 1960.

Signature: signed, titled and dated 'J. Johns TARGET 1960' (lower center)

Princeton Art Museum, Princeton University; Austin, Archer M. Huntington Art Gallery, University of Texas and Minneapolis, Walker Art Center, Selections from the Ileana and Michael Sonnabend Collection: Works from the 1950s and 1960s, February 1985-March 1986, p. 53, no. 19 (illustrated).

Washington, D.C., National Gallery of Art and Kunstmuseum Basel, Jasper Johns: an Allegory of Painting, 1955-1965, January-September 2007, pp. 100 and 163, no. 42 (illustrated in color).

Philadelphia Museum of Art and London, Barbican Centre, Dancing Around the Bride: Cage, Cunningham, Johns, Rauschenberg and Duchamp, October 2012-June 2013, p. 402 (illustrated in color).

M. Crichton, Jasper Johns, New York, 1994, p. 83 (illustrated).

The Estate of Ileana Sonnabend, acquired directly from the artist

By descent to the present owner

About Jasper Johns

Jasper Johns's ongoing stylistic and technical experimentation place him at the forefront of American art. His richly textured paintings of maps, flags, numbers, and targets laid the groundwork for Pop art, Minimalism, and Conceptual art. In New York in the 1950s, Johns was part of a community of artists, including Robert Rauschenberg, seeking an alternative to the emotional nature of Abstract Expressionism. Influenced by Marcel Duchamp, Johns's early work paired the concerns of craft with familiar concrete imagery. His interest in process also led to innovations in lithography, screen-printing, etching and woodblock, using such materials as pencil, pen, brush, crayon, wax, and plaster to constantly challenge the technical possibilities of printmaking.

American, b. 1930, Augusta, Georgia, based in New York, New York