Ale Cans
18 7/8 by 14 3/8 inchesAle Cans (ULAE 152), 1975
paper: 18 7/8 by 14 3/8 inches
edition: 14 with 7 AP's & 1 PP
signed, dated and numbered lower right in pencil
published by Gemini G.E.L., Los Angeles with their inkstamp on the verso, 1975
printed by Dan Freeman, Anthony Zepeda
© 2024 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY
Literature
Richard Field, Jasper Johns Prints 1970-1977, Wesleyan University, Middletown, 1978, Catalogue Reference 203, p. 100, another impression reproduced in black and white
Richard Field, The Prints of Jasper Johns 1960-1993: A Catalogue Raisonne, ULAE, New York, 1994, Catalogue Reference ULAE 152, n.p., another impression reproduced in full-page color.
Selected Museum Collections
National Gallery of Art, Washington D.C.
Museum of Modern Art, New York
National Gallery of Art, Australia
Additional Photos
Full Sheet
Image Detail
Edition Number, Signature, Date & Gemini blindstamp
Like many of his contemporaries, Jasper Johns was profoundly influenced by the artist Marcel Duchamp and his concept of the readymade, an ordinary, mass-produced object that the artist selects, removes from its functional roleand declares to be art. Yet rather than merely presenting quotidian objects, Johns meticulously created them. One of his earliest such works is Painted Bronze, a hand-painted bronze sculpture of two cast cans of Ballantine Ale.
JASPER JOHNS ALE CANS
Like many of his contemporaries, Jasper Johns was profoundly influenced by the artist Marcel Duchamp and his concept of the readymade, an ordinary, mass-produced object that the artist selects, removes from its functional roleand declares to be art. Yet rather than merely presenting quotidian objects, Johns meticulously created them. One of his earliest such works is Painted Bronze, a hand-painted bronze sculpture of two cast cans of Ballantine Ale.
Dismissing the new wave of young talent Leo Castelli promoted in the late 1950’s, Willem de Kooning teased: “You could give that son of a bitch two beer cans and he could sell them.” And so, Jasper Johns did, casting two cans of Ballantine Ale in bronze for Castelli Gallery. The sculpture, Patinated Bronze (Ale Cans), sold immediately to Robert and Ethel Scull for $960. Initially perceived as a witty retort to De Kooning and his fellow Abstract Expressionist’s prideful remarks, the work is now recognized for its pioneering role in the advent of Pop Art. Carefully sculpted and painted to mimic Ballantine’s branding, the sculpture inspired discourse about consumerism — and just two years later Andy Warhol would unveil his first Soup Cans.
While Warhol sought precision in repetition, Johns was obsessed “with the repetition of images in changing contexts - an obsession perfectly aligned with the capabilities of printmaking.” He transferred his Ale Cans from three dimensions to two, re-inventing them on lithographic stones and aluminum plates. On a mission to explore the fine differences between seemingly identical objects and the tension between them, he experimented with numerous proofs before completing the edition of 31, agonizing over how to best re-interpret his sculpture on a flat surface.
Johns regulalry chose everyday objects and standardized images as subjects for his art. He depicted numbers, letters, flags, mapsand targets in simple, straightforward compositions. This approach allowed Johns to effectively "neutralize" his subjects and eliminate any suggestion of narrative content, forcing the viewer to examine the surface, texture, shadingand color of his artworks, that is, as ink on paper, paint on canvas, or cast bronze. For Johns, the artistic process was an integral aspect of the work of art itself. By deemphasizing the hand of the artist, his method also represented an unequivocal repudiation of the individualized self-expression and emotional intensity of the Abstract Expressionists.
The condition of Jasper Johns prints plays a pivotal role in preserving the integrity and value of these artworks. The presence of mat staining, fox marks and attenuated colors can significantly impact the overall aesthetic and historical integrity of these artworks. When considering a purchase of a Jasper Johns print, it is crucial to be wary of dealers who claim prints are in good condition despite such issues, as this may be a deliberate attempt to mislead buyers. Transparency is imperative in the art market and dealers who purposefully omit condition details are not acting in the best interest of the collector. It is also advisable to avoid dealers who artificially enhance colors in photos, distorting the true condition of the artwork. Choosing dealers who provide accurate representations, even if it reveals imperfections, ensures that buyers make well-informed decisions, maintaining the authenticity and value of Jasper Johns prints over time.
