Larry Gagosian's recently opened exhibition of Jasper Johns' crosshatch paintings at his New York gallery is a testament to both artistic appreciation and curatorial prowess. Gagosian, a prominent figure in the art world, expressed a personal desire to engage with these particular works, highlighting an intimate connection that transcends mere commercial interest. This unique approach is further underscored by his fluent discussions on the formal attributes of Johns' art, focusing on the artist's meticulous surface treatments and masterful use of materials rather than dwelling on abstract conceptual frameworks. His perspective emphasizes the direct, visceral experience of viewing these paintings, inviting observers to immerse themselves in their intricate details.
The exhibition itself is a formidable undertaking, showcasing a collection of crosshatch paintings created between 1973 and 1983. These works reveal a surprising depth and complexity; up close, the encaustic surfaces are rich with texture, occasionally interspersed with fragments of newsprint or other subtle inclusions. As one steps back, the individual marks coalesce, and the grids soften, revealing ambiguous, half-formed shapes that invite contemplation without demanding explicit interpretation. Notably, the exhibition features significant pieces such as 'Corpse and Mirror' (1974), 'Weeping Women' (1975), and all six variations of 'Between the Clock and the Bed' (1981), masterpieces gathered from esteemed institutions like the Museum of Modern Art and the National Gallery of Art, as well as private collectors. Such an assembly underscores Gagosian's considerable influence and extensive network within the art community, demonstrating his unique ability to orchestrate a show of this magnitude. This intricate coordination highlights the complex negotiations and long-standing relationships required to bring together such a prestigious collection, defying the typical challenges of securing loans for such valuable and dispersed artworks.
Beyond the artistic display, the exhibition holds a symbolic significance for Gagosian's gallery, marking its final presentation at the 980 Madison Avenue space before relocating within the same building. This echoes the gallery's inaugural exhibition in 1989, which also featured Johns's 'Map' paintings, creating a poignant historical parallel. Furthermore, the show offers a nuanced re-evaluation of the common belief that Johns's crosshatch series was directly inspired by Edvard Munch's 'Self-Portrait. Between the Clock at the Bed.' Gagosian clarifies that Johns had been exploring the crosshatch motif for years prior to encountering Munch's work, though the latter did inspire six specific compositions. This correction enriches our understanding of Johns's artistic journey and influences. While some in the industry might view this exhibition as a strategic move to attract Johns away from his long-standing representation, it undeniably provides a profound insight into Johns's artistic evolution and, perhaps, Gagosian's astute business acumen.
This exhibition serves as a powerful reminder of the enduring impact of exceptional art and the dedicated individuals who champion its presence. It underscores the importance of a profound connection between gallerist and artist, fostering an environment where significant works can be brought together for public appreciation. The meticulous effort involved in curating such a collection speaks to a deep commitment to preserving and presenting artistic legacies, inviting viewers to engage deeply with the intricate beauty and historical context of these masterpieces. Such endeavors not only celebrate individual artists but also enrich the broader cultural landscape, ensuring that vital artistic dialogues continue to thrive and inspire future generations.