Target with Plaster Casts
(ULAE 208), 1979-80

etching and sugar-lift aquatint on Rives paper
paper: 29 1/2 x 22 5/8 inches
image: 23 1/2 x 17 3/4 inches
frame: 31 3/8 x 23 3/4 inches
edition: 88 with 13 AP's & 2 PP's
signed & dated in pencil "J Johns '80" lower right
numbered in pencil by the Artist from the edition of 88 lower left.
printed by Atelier Crommelynck
published by Petersburg Press, New York
© 2024 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY

Literature
Judith Goldman, Jasper Johns Prints 1977-1981, Thomas Segal Gallery, Boston, MA, 1981, n.p., Segal 22, another impression reproduced full page black and white.
Michel Butor, Kathleen Slavin, Jasper Johns Gravures Dessins 1960-1991, Foundation Vincent Van Gogh, 1992, no. 26, pg. 70, another impression reproduced in full-page color.
Richard Field, The Prints of Jasper Johns 1960-1993: A Catalogue Raisonne, ULAE, New York, 1994, Catalogue Reference ULAE 208, n.p., another impression reproduced in full-page color.
Susan Lorence, Technique and Collaboration in the Prints of Jasper Johns, Castelli Gallery, New York, 1996, Catalogue Reference 30, n.p., another impression reproduced in black and white.
Riva Castleman Jasper Johns: A Print Retrospective, New York: The Museum of Modern Art; Boston: New York Graphic Society, Books/Little Brown and Company, 1986, pg 97, another impression reproduced in full-page color.

Exhibited
The Museum of Modern Art, New York, Jasper Johns: A Print Retrospective, May 19–Aug 19, 1986, another impression exhibited.
Foundation Vincent Van Gogh, Arles, Jasper Johns Prints and Drawings from the Castelli collection, July 4-September 30, 1992, another impression exhibited.
Whitney Museum of American Art, New York, Jasper Johns Mind/Mirror, September 29, 2021-February 13, 2022, other impressions exhibited.

Selected Museum Collections
Walker Art Center, Minneapolis
National Gallery of Art, Australia
The Museum of Fine Arts, Houston
The British Museum, London
Dallas Museum of Art, Dallas
National Gallery of Art, Washington D.C.
The Flint Institute of Arts Museum, Flint

Price on Request

Additional Photos

Jasper Johns, a master printmaker since 1960, is a name etched into the annals of art history. His creation, Target with Plaster Casts, executed from 1978 to 1980 using color etching, sugar-liftand aquatint techniques, stands as one of the most iconic works in his extensive repertoire. It unquestionably represents a pivotal piece within his celebrated Target series. Collaborating closely with the renowned Aldo Crommelynck, whose virtuosic command of traditional printmaking techniques had previously graced the works of European luminaries such as Picasso, Braqueand Matisse, Johns breathed life into his artistic vision. Crommelynck's expertise also extended to nurturing emerging American artists, a list that notably includes Jim Dine and Jasper Johns himself.

JASPER JOHNS TARGET WITH PLASTER CASTS

Jasper Johns, a master printmaker since 1960, is a name etched into the annals of art history. His creation, Target with Plaster Casts, executed from 1978 to 1980 using color etching, sugar-liftand aquatint techniques, stands as one of the most iconic works in his extensive repertoire. It unquestionably represents a pivotal piece within his celebrated Target series. Collaborating closely with the renowned Aldo Crommelynck, whose virtuosic command of traditional printmaking techniques had previously graced the works of European luminaries such as Picasso, Braqueand Matisse, Johns breathed life into his artistic vision. Crommelynck's expertise also extended to nurturing emerging American artists, a list that notably includes Jim Dine and Jasper Johns himself.

The Target motif, a symbol synonymous with Jasper Johns, first catapulted him to fame, a visual concept that has endured for over half a century, imprinted repeatedly in the collective memory of art enthusiasts. Works like Target with Plaster Casts echo their predecessors, notably Target from 1961, now housed in the esteemed collection of the Art Institute of Chicago. These pieces were crafted using encaustic, an ancient technique that involves heating wax and applying it with meticulous care, akin to frosting a cake. These iconic Targets have transcended mere artistic expressions; they have evolved into a form of advertising, emblematic logos of postwar American art. Before Joseph K. Levene established Joseph K. Levene Fine Art, Ltd., he was President/COO, Petersburg Press, Inc. In 1989, Joseph K. Levene had the distinct privilege of selling the aforementioned Target, 1961, encaustic on canvas, to a private collector in Japan, who a decade later sold it to the late Stefan T. Edlis.

Renowned Jasper Johns expert Roberta Bernstein, a luminary in the field of art history and Professor Emeritus at the University of Albany, State University of New York, holds the mantle of the foremost scholar on Jasper Johns. Her authoritative monographs, including "Jasper Johns: Catalogue Raisonne of Painting and Sculpture," attest to her profound understanding of his art. Upon her initial encounter with Jasper Johns' "Flag and Target," Bernstein shared, "My trust in my perceptions was shaken up. This happened with the flags and targets that initially looked like the objects themselves and then became something else when looking at their surfaces."

Jasper Johns photographed at an exhibition of his work at the Whitney Museum of American Art in 1977. photo by Jack Mitchell

Johns himself elucidated that his imagery is derived from "things the mind already knows," encompassing utterly familiar icons such as Flags, Targets, Numbersand Maps. Among these four early icons that have found a home in his oeuvre, the Target stands as Johns' most abstract image, symbolizing the anonymous and universal. The familiar Target continues to exert its magnetic pull in Johns' work, an enduring motif that transcends time.

The world of printmaking has cast a profound influence on Johns's artistic journey, allowing him to refine and crystallize his creative ideas. Over the years, Johns has collaborated with some of the most esteemed and talented printmakers of the 20th century, including Atelier Crommelynck, Petersburg Press, Gemini G.E.L., Universal Limited Art Editions, John Lund, Low Road Studiosand Simca Print Artists. These collaborations have served as crucibles for his artistic exploration.

"Target" in its myriad iterations found a place of honor in Jasper Johns: Mind/Mirror, an expansive retrospective jointly organized by the Philadelphia Museum and the Whitney Museum of American Art. This monumental exhibition, arguably the most extensive retrospective ever dedicated to the artist, showcased nearly 500 artworks spanning paintings, sculptures, drawingsand prints. These works, many drawn from Johns's personal collection and previously unseen by the public, celebrated the artist's enduring fascination with mirroring and duality. Divided into two halves, the exhibition mirrored itself, inviting viewers to embark on a journey of discovery, unraveling the themes, techniquesand enigmatic visual language that reverberate across the two venues.

As Johns explained, the imagery derives from "things the mind already knows," utterly familiar icons such as Flags, Targets, Numbers and Maps. Of those four earliest icons that occupy his work, the Target is Johns' most abstract image, representing something anonymous and universal, the familiar target continues to appear in Johns' work.

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.