Jasper Johns2
Jasper Johns2
Jasper Johns2
LUDWIG WITTGENSTEIN
by
PETER HIGGINSON
B.A., University of B r i t i s h Columbia, 1972
in the Department
of
Fine Arts
required standard
July, 1974
In p r e s e n t i n g t h i s t h e s i s in p a r t i a l f u l f i l m e n t o f the requirements for
written permission.
Depa rtment
The U n i v e r s i t y o f B r i t i s h Columbia
Vancouver 8, Canada
ABSTRACT
p a i n t i n g s to e x p l o r e meaning i n a r t .
r a d i c a l change from former work, as Barbara Rose and Sidney T i l l i m suggest, but as
iii
p l a y s i n the r e c e p t i o n o f a p a i n t i n g .
affinity to the ' a r t i s l i f e ' maxim of Johns, Rauschenberg and Cage but more
Johns' p a i n t i n g s from 1961 on become such where he sees the r o l e of the artist
was p a i n t i n g at a p e r i o d when the a r t i s t ' s aim was becoming more and more
to Duchamp.
anthropocentrism, Johns does not advance any one theory. He does not, unlike the
work.
v
TABLE OF CONTENTS
ABSTRACT i i
LIST OF PLATES vi
INTRODUCTION 1
C r i t i c i s m so F a r 36
CHAPTER V : Conclusion 70
FOOTNOTES 74
PLATES 90
BIBLIOGRAPHY 116
vi
LIST OF PLATES
P L A T E XXXV By t h e S e a , 1961
INTRODUCTION
i
2
p a i n t medium.
p r e s e n t i n g as b r i e f l y as p o s s i b l e a s y n o p s i s of W i t t g e n s t e i n ' s p h i l o s o p h y and
r o l e i n Johns' work.
What must be s t r e s s e d at t h i s stage i s t h a t Johns i s not a p h i l o s o p h e r i n
to e v a l u a t e s u c c e s s f u l l y from a p u r e l y p h i l o s o p h i c a l s t a n d p o i n t .
4
a f o c a l i s i n g f o r c e t h a t appealed on a n a t i o n a l i s t i c as w e l l as an i n d i v i d u a l
level:
" T h i s new p a i n t i n g does not c o n s t i t u t e a s c h o o l . To form a s c h o o l i n
modern times not o n l y i s a new p a i n t i n g c o n s c i o u s n e s s needed but a
c o n s c i o u s n e s s of t h a t c o n s c i o u s n e s s and even an i n s i s t e n c e on
c e r t a i n f o r m u l a s . A s c h o o l i s the r e s u l t of the l i n k a g e of p r a c t i c e
w i t h t e r m i n o l o g y - d i f f e r e n t p a i n t i n g s are a f f e c t e d by the same words.
In the American Vanguard the words, as we s h a l l see, b e l o n g not t o
the a r t but to the i n d i v i d u a l a r t i s t s . What they t h i n k i n common i s
r e p r e s e n t e d o n l y by what they do s e p a r a t e l y - ^ 1
a s s u r e d of r e t a i n i n g his. s e p a r a t e n e s s .
were s o u t h e r n e r s , both had done time i n the f o r c e s , n e i t h e r had had any artistic
' P r o f e s s i o n a l i s m i s e n v i r o n m e n t a l . Amateurism i s a n t i - e n v i r o n m e n t a l .
P r o f e s s i o n a l i s m merges the i n d i v i d u a l i n t o p a t t e r n s of t o t a l
environment. Amateurism seeks the development of the t o t a l
awareness of the i n d i v i d u a l and the c r i t i c a l awareness of the ground
r u l e s o f s o c i e t y . The amateur can a f f o r d to l o s e ... The 'expert' i s
the man who s t a y s put.'4
an a l l - w h i t e p a i n t i n g . ^ '
a
J o h n s ' i n t u i t i o n and 'amateurism' l e d i n 1954 to p a i n t h i s f i r s t Flag
and replication.
i l l u s i o n and fact.
p r o v i d e a u n i f o r m i t y of s p a t i a l i l l u s i o n u n t i l we r e a l i z e that t h i s i n turn
experience.
a ' c e r t a i n narrowness'. 6
Johns r e f u s e s to p r o v i d e any arrival. U n l i k e , Frank
emblem. ^
background and f o r e g r o u n d , but at t h i s stage Johns does not appear too sure of
by a s e r i e s of boxes w i t h l i d s c o n t a i n i n g p l a s t e r c a s t s of v a r i o u s a n a t o m i c a l
9
Toy Piano ( P l a t e Iv) where numbered keys of the toy piano l i n e the top of a
The analysis i s warranted since at no time does Steinberg impose i t upon the
In the above work the fourth cast has been swapped with the t h i r d to prevent
Eventually Johns becomes more relaxed with the target image and i s able to use
i t alone i n paintings. Large Green Target 1955 (Plate VI) could possibly be
Target, 1957 (Place VII) i s even more charged with d i s s o c i a t i o n . The grid-
more expressionistic application with the brush. The result i s an even tighter
We could ask at this point why Johns did not simply paint a round canvas.
I think there are two reasons. Shaped canvases at this time would have missed
the point and impact that Johns was interested i n , that i s i t would have taken
the subject away from the idea of easel painting. Also, whilst there i s an
common e v e r y day number as the f l a g was an everyday symbol. ' But there i s a
q u a l i t y t h a t l e d Johns to l o o k at the q u e s t i o n of n a r r a t i v e i n a b s t r a c t a r t .
18
if i t were t h r e e dimensional.
* ft *
that i s f a r more profound than the s u r r e a l i s t s ' . With Johns he wants to leave
22
polemical m i l i e u . The p o s s i b l e exceptions are M a g r i t t e , and Breton's
23
are anxious to remind us of.
At the same time t h a t Johns was doing the above, he was p a i n t i n g works .
dance on it? Again we are given the use of the b a n a l - the dance h a l l - f o r
painting?
"That's right."
audience.
L i k e S t e i n b e r g , K o z l o f f t r e a t s i t as Johns l o o k i n g at the p i c t u r e s u r f a c e as
26
merely s u r f a c e and hence any s u r f a c e - be i t f u r n i t u r e or whatever - w i l l do.
27
d i m e n s i o n a l space t o a p o i n t of f r u s t r a t i o n i n showing t h a t s u r f a c e i s as
* * *
I s l a n d workshop i n 1960, a n d
Tillim. as tantamount to the end of a career.
major p i e c e s t h a t l e a d up t o 1961.
' c o r r e c t ' and ' i n c o r r e c t ' to the c o l o u r s they are a s s i g n e d and even the colours
33
Quartets.
Another way of v i e w i n g t h i s i s an attempt on Johns' p a r t to awaken us to
i s seen. P u r i t y of c o l o u r i s a f a l l a c y , simply an i n t e l l e c t u a l c a t e g o r i s i n g
34
sensation.
36
Johns e x p l a i n e d to Hopps:
'I d i d n ' t know what to c a l l i t and i t wasn't l i k e my o t h e r p a i n t i n g s
and one day I was s i t t i n g i n the Cedar Row and looked up at a p o i n t
of a horse r a c e which was c a l l e d "The F a l s e S t a r t " and I s a i d t h a t
was going to be the t i t l e of my p a i n t i n g ' 3 7
Jubilee ( P l a t e XXVII) o f the same y e a r i s the s e q u e l and ultimate
h i n t s o f b l u e s and reds.
point i s that 'Man i s the measure of a l l t h i n g s ' and 'master of the square and
43
has always had a great admiration f o r Leonardo's work and thought. Even i f a l l
phenomena to a s i n g l e term.
to W i t t g e n s t e i n i t i s , o f c o u r s e , n e c e s s a r y to g a i n some f a m i l i a r i t y w i t h the
go any further.
CHAPTER TWO: WITTGENSTEIN'S PHILOSOPHY:
A SYNOPSIS
[Jasper J o h n s ] x
Ludwig Johann W i t t g e n s t e i n was born i n Vienna i n 1889, the youngest of
a distinguished pianist.
as a p a r t n e r .
were p u b l i s h e d i n 1961.
f i n a l l y discouraged by t h e f a t h e r s u p e r i o r .
to many of t h e i r discussions.
again to philosophy and for the next three or four years he gradually deve-
e a r l i e r version of these views are to be found i n the Blue and Brown Books
For the next couple of years he l i v e d i n Ireland and spent a few months
with Norman Malcolm i n the States. In the summer of 1949 he learnt he had
cancer. He v i s i t e d his family i n Vienna and i n 1951 moved to the home of his
up and be r i d of them.
I w i l l d e a l w i t h the T r a c t a t u s i n as s h o r t a manner as i s n p o s s i b l e
p o i n t of u n d e r s t a n d i n g the r a d i c a l i s m of the l a t e r I n v e s t i g a t i o n s as w e l l as
as w i l l be made c l e a r f u r t h e r on.
or atomic f a c t s , none of which are i n any way dependent on one another. This
does not mean t h a t atomic f a c t s cannot be a n a l y s e d but o n l y t h a t they cannot be
u n a t t e r a b l e , atomic.
8
reality.
when he says:
But Wittgenstein's point i s not one of rejecting the metaphysical but rather
method upon i t .
'The s e n s e o f t h e w o r l d m u s t b e o u t s i d e t h e w o r l d . In the w o r l d
e v e r y t h i n g i s a s i t i s , and e v e r y t h i n g h a p p e n s a s i t h a p p e n s :
i n i t no v a l u e e x i s t s - and i f i t d i d , i t w o u l d h a v e no v a l u e .
'My p r o p o s i t i o n s s e r v e a s e l u c i d a t i o n s i n t h e f o l l o w i n g way:
a n y o n e who u n d e r s t a n d s me e v e n t u a l l y r e c o g n i s e s them a s
n o n s e n s i c a l , when he h a s u s e d them - a s s t e p s ; : - t o c l i m b
up b e y o n d t h e m . (He m u s t , s o t o s p e a k , t h r o w away t h e l a d d e r
a f t e r h e h a s c l i m b e d up i t . ) . ' 1 3
by both M a l c o l m and von Wright. At one point Wittgenstein was defending his
view of the p r o p o s i t i o n and that which i t describes as having the same logical
14
Wittgenstein'what the logical form of t h a t was'. According to Wittgenstein
t h i s was the q u e s t i o n t h a t made him r e a l i s e the a b s u r d i t y of h i s former
position.
c a l l s i t , 'language game',
"This i s red", unless the 'student' understands what the word ' c o l o u r ' means
the meaning of the name. Wittgenstein believes the meaning of the word i s
meaning i s also.
Tractatus. Picturing or naming the world i s meaningless since there are many
'family resemblances'.
33
i n order as i t i s . '
b l i n d spots.
I f we see how t o get out of the muddle we can a l s o see how we got t h e r e i n
2A
m i s t a k i n g how the s p e c i f i c words are used. For example, when we say, "Now I
absurb as making the r e p o r t "Now I have begun". Rather the statement can o n l y
one saw the answer to a problem was c e r t a i n l y present. The statement was not
A 2 7
do.
whole.
'What we are supplying are r e a l l y remarks on the natural history
of human beings; we are not contributing c u r i o s i t i e s however,
but observations which no one has doubted, but which have ^
escaped remark only because they are always before our eyes.'
CHAPTER THREE:, JOHNS AND WITTGENSTEIN:
'A p i c t u r e r e p r e s e n t s a p o s s i b l e s i t u a t i o n i n l o g i c a l space.
A p i c t u r e c o n t a i n s the p o s s i b i l i t y of the s i t u a t i o n t h a t i t
represents.
A p i c t u r e a g r e e s w i t h r e a l i t y or f a i l s to agree; i t i s
c o r r e c t or i n c o r r e c t t r u e or f a l s e . ' 4
given form by language games and hence meaning w i l l always be no more than
empirical verification.
more 'models of r e a l i t y ' merely because they are presented to us. Wittgenstein
has a problem over not being able to f i t such propositions into r e a l i t y , that
reality.
Apart from these claims we should look at some of Johns' work to see i f
they stand up to any of them. By the Sea, 1961 (Plate XXXV) i s a useful one
and a fourth i n which a l l three words are superimposed to form, not a single
unreadable sign. Each word labels one of four sections of stretched canvas
that go to make up the work. Although for the most part they have been
even both. Hence we are to say the RED section i s red and the RED section
i s not red>;the YELLOW section i s yellow, the YELLOW section i s not yellow
and so on. However, there i s no tautology since the red section i s not
wholly red and there i s no contradiction since the section i s not wholly not
red. The work i n fact has nothing to do with such propositions and even
1
.... Johns would never confuse a symbol w i t h a s i g n he i s
n e i t h e r i n t e r e s t e d nor u n i n t e r e s t e d i n p r e s e r v i n g c o l o u r
p u r i t y . . . . . You do not ask whether t h a t y e l l o w p a t c h i s
red as the l a b e l says but i n the u n l i k e l y event t h a t you do,
the y e l l o w i s a f f i r m e d and the r e d ( o f the l e t t e r i n g )
acknowledged, but the c o n n e c t i o n i s not i m p l i e d . ' 7
at l a t e r on.
i s what i t s meaning i s .
The paradox of the word 'scrape' i n Passage that i t s e l f has been scraped
hence use i t . On the contrary Johns i s very n i c e l y reading i t from the van-
tage point of two language games at the same time - one of report: "The
paint has been scraped" and one of command': " i t says 'scrape' so I scraped i t !
out' that there are no rules common to a l l language games - but does not
to miss the whole point. In Fool's House, 1962 (Plate XXXVII) Johns labels
the broom, towel, stretcher and cup with a scribbled name and arrow pointing
'Suppose, however, someone were to object: " I t i s not true that you
must already be master of a language i n order to understand an
ostensive d e f i n i t i o n : a l l you need - of course!' - i s to know or
guess what the person giving the explanation i s pointing to.
That i s , whether for example to the shape of the object, or
to i t s colour, or to i t s number, and so on" - And what does
'pointing to the shape', 'pointing to the colour' consist in?
Point to a piece of paper. - And now point, to i t s shape - now
to i t s colour - now to i t s number (that sounds queer!). - How
did you do i t ? 'H
What i s the word 'towel' pointing to? Something to dry our hands on? A
l i m i t s h e r s e l f to a s k i n g q u e s t i o n s s p e c i f i c a l l y i n the l i g h t of Wittgenstein's
reading difficult. ^ 1
K o z l o f f ' s but even then she does not q u i t e make i t . She sees Johns as
43
read i t i n terms of b r i g h t n e s s .
composite colour:
i n the form of wooden l e t t e r s of the words, Red, Yellow and Blue t h a t stand
out from the canvas. Johns indeed has shown t h a t new uses g i v e now meanings
t h i n g s t o o f f e r c o u n c i l to c r i t i c i s m i n g e n e r a l .
CHAPTER FOUR: JOHNS AND WITTGENSTEIN
f e a s i b l e s i t u a t i o n s where c o n t r a r i e s c o u l d e x i s t s i d e by s i d e . As Fried
suggests:
of Duchamp's notes from the Green Box. Such d e v o t i o n was unprecedented and
2 s i m i l a r objects
\ 2 colours, 2 laces
2 h a t s , 2 forms whatever
to reach t h e i m p o s s i b i l i t y o f s u f f i c i e n t v i s u a l memory to
toatransfer
from one
l i k e o b j e c t t o another
the memory i m p r i n t
Same p o s s i b i l i t y
w i t h sounds, w i t h b r a i n f a c t s . '
that c l a r i f i e d the d e f i n i t i o n o f l o o k i n g .
Wittgenstein's l a t e r stance i s not u n l i k e Duchamp's. His conception of
criticism.
each eye has been r e p l a c e d by a mouth, one open, the o t h e r not so much c l o s e d
his exhibitions. 1 1
I f i t has not done a l r e a d y the i n t e n t i o n becomes c l e a r from
the sensation of seeing and the describing of that sensation. When we look
at something, we are not simply involved i n the act of the sensory but also
judgement of that figure w i l l only be one of many that could be made. Conse-
bed but not explained and ultimately the only authority i s the painting
itself.
almost impose rules of perception not only on to the audience but the a r t i s t
13
Sketchbook Notes Johns says that 'looking i s and i s not eating and being
eaten' which indeed i s the case of the mouths i n The C r i t i c Sees. Not only
a c t i v i t y but also to the whole process of chewing over and regurgitating the
artwork. Nicolas Calas, one of the few American art writers to watch out f o r
more as a threat and hence more ingenuity must be brought to bear to bring i t
under c o n t r o l .
to h i s own ends.
brings about the i n t e r a c t i o n of sight and voice - 'the prime motive of any
learning to see. Wittgenstein sees the role of the philosopher as some sort
upon himself to clear up bad habits about looking. He does this not by
'Well suppose that a picture does come before your mind when you
hear the word "cube", say the drawing of a cube. In what sense
can t h i s picture f i t or f a i l to f i t a use of the word "cube"? -
Perhaps you say: " I t ' s quite simple - i f that picture occurs
to me and I paint to a triangular form for instance, and say i t ' s a
cube then t h i s use of the word doesn't f i t the p i c t u r e . " - But
doesn't i t f i t ? I have purposely so chosen the example that i t
i s quite easy to imagine a method of projection according to which
the picture does f i t a f t e r a l l .
The picture of the cube did indeed suggest a certain use to us,
but i t was possible for me to use i t d i f f e r e n t l y . ' x 7
that there are other processes, apart from the one we o r i g i n a l l y think of,
to applying apicture to the word "cube". The connection between, word and
image i s tenuous.
Johns must have been a l i t t l e bewildered to begin with over the varied
rely i n the same way Wittgenstein deals with what we have rather than giving us
tion. The r e s u l t has been that the painting's success i s dependant on whether
work of reference and this i n the end paradoxically leads us to the generali-
The painting No, 1961 (Plate XXXXI) reveals a painted surface where the
cut out l e t t e r s of the word 'NO' hang from a wire casting both a r e a l and a
painted shadow. The work as i t s t i t l e implies deals with things and their
imprint Johns made with the base of a cast of Duchamp ,'s Female F i g Leaf - which
24
word on the end of the wire over to that area. We are continuously denied.
for that area and f i n d ourselves doubly denied. Whatever portion we select
and interpret not only i s i t negated but the negation i s denied. The irony
judgements. Wittgenstein nor Johns deny the v a l i d i t y of these but never must
; * * ? ? f ? * ?
.| :
x =
3 . ;
<+
6 : '
7 ..
ft
<)l 1 1 1 1 1 1 1 11
I would j u s t w r i t e down numbers and you might say: "My God!
I t i s grand." I t wouldn't be any d e s c r i p t i o n . You wouldn't
say such a t h i n g at a l l . I t would o n l y be a d e s c r i p t i o n i f
you c o u l d p a i n t ( a c t ? ) a c c o r d i n g to t h i s p i c t u r e , which of
course i s c o n c e i v a b l e . But t h i s would show t h a t you can't at
a l l t r a n s m i t the i m p r e s s i o n by words, but you'd have a g a i n to
paint.'26
the p a i n t i n g itself.
cup of teal
suggest t h a t the d i v i d i n g of the canvas down the middle by the broom handle i s
28
a p r e c u r s o r of the s i m i l a r d i v i s i o n i n F i e l d P a i n t i n g . An i n t e n s i f i c a t i o n of
56
the naming irony was provided bythe occurence of a friend who seeing the picture
29
for the f i r s t time exclaimed, "Any f o o l knows i t ' s a broom." Johns has given
Johns does not simply add or subtract to give extra or changed meaning. He
shows the whole i n a way that can be understood from numerous angles. As with
on the space of language, Johns, by naming various objects that we rapidly begin
texts and not merely from a single preconceived one. To treat the proposition,
"This i s a broom" as an atomic fact denies the other associations we cannot help
in that two aspects of a work would constitute one triangle and so on.
The idea of usage that occurs i n Passage has already been discussed i n the
only indicates the meaningless of naming but i s also a pun on what language and
chain joined together by a fork when used i n the painting plays the role of l i n e ,
tones.
it at a time. On t h i s q u e s t i o n o f a s p e c t - s e e i n g W i t t g e n s t e i n b r i n g s to a t t e n t i o n
head of a r a b b i t .
areas l a b e l l e d RED, YELLOW and BLUE. The segment of the scraped circle is now
viewer. Krauss refers to the hand as suggesting the 'materiality of the paint
37
The areas l a b e l l e d RED, YELLOW and BLUE are a l l the same metallic blues
and grays and expose the same concept of meaning as they did i n By the Sea.
However, there are now additional questions brought up with the use of l e t t e r i n g .
uncertain one. The word RED i s echoed by a smaller one behind and a n t i t h e t i c a l l y
the word BLUE i s shadowed by a larger one behind. The word YELLOW i s preceded
by a mirror image of the f i r s t two l e t t e r s 'EY'.'b'y the back of the canvas being
suggested as i n the e a r l i e r Canvas, or, as Kozloff asks, has the canvas been
38
Another word RED i s shown with the 'R' upside down and the 'ED' back to
front, and a word BLUE i s turned i n upon i t s e l f . 'Cape Hatteras' has an under-
39
of seeing the same word. The irony rests i n the fact that even though we view
these words from d i f f e r e n t angles, they are always recognizable as either RED,
linked.
60
And y e t the p i c t u r e which you have turned around may be the most
exact r e p r e s e n t a t i o n of a person's face.'^0
c o l l e c t i o n o f c o l o u r the r e s u l t i s explained as an a b s u r d i t y or d a d a i s t i n t e n -
arrows i n Diver as creating a tension but Johns i s not concerned with presenting
t h i s way Johns' work i s highly moralist. His rigorous search for the curing of
44
vable that the poetic beauty of this approach could have strongly rubbed off
Johns' hunt for t h i s 'complete c l a r i t y ' makes i t not too farfetched to suggest
Land's End can also work as an expressionistic view out to sea with the sun
62
probably because the e a r l i e r pace deals with the careerist and the latter with the
and we gain a great deal of insight into i t s nature from the Sketchbook Notes:
The work consists of two stretched canvases, the left-hand one divided into areas
muddy tones as i f the three pigments, had been mixed. On the other panel, a chair
inverted and fixed to the upper h a l f . The cast has been truncated at the waist
green, orange and greys. To the right are three rectangles representing the
primaries. Much of the paint has run down from the figure into and over a c o l l a -
ged newspaper. The whole bottom section of both canvases shows a length of
scraped paint which not so much wipes out the painting as 'cheekily' covers i t
Wittgenstein. They survey the whole practise of the creation of and the
confrontation with the art object i n a way reminiscent of the more detailed search
i n the Green Box notes.
read by Johns':
64
'If the nineteenth century was the age of the e d i t o r i a l chair [the
private point of view - F i e l d ] , ours i s the century of the
p s y c h i a t r i s t ' s couch. As extension of man the chair i s a
s p e c i a l i s t ablation of the posterior, a sort of oblative absolute
of backside, whereas the couch extends the i n t e g r a l being.'^2
tant painting, According to What, 1964 (Plate XXXXVI). It i s made up of seven can-
i t from l e f t to right the f i r s t panel contains a repeat of the Watchman chair and
plaster cast theme with the difference that this time the image i s not only facing
a small canvas that can be opened or closed. When closed i t shows simply the back
'M.D.' and a spot of paint that has been allowed to dribble a l i t t l e . The area
that this small canvas covers when closed i s a 'trompe l ' o e i l ' version of the
the l e t t e r s of the words RED, YELLOW and BLUE are made of s o l i d aluminum rather
than wood and have none of the studio objects magnetically attached as the e a r l i e r
piece does. Also the neon l e t t e r 'R' of F i e l d Painting has been omitted but the
as a colour chart. What would have been the metal s t e n c i l used to draw each
c i r c l e has been bent out and attached at the base. A wider s t r i p of canvas joins
t h i s colour band and simply shows a passage from white to blue-black through a
t i o n i n a way t h a t we can read the hanger as a f l a t image and a bent one a t the
the edges.
53
making the c o n n e c t i o n between p l a s t e r mold and m a l i c mold and we b e g i n t o see that
54
w i t h enough i n g e n u i t y the a s s o c i a t i o n s c o u l d be i n f i n i t e .
In Johns' n o t e s t h e r e i s t h i s inclusion:
'Profile? Duchamp ( ? ) . D i s t o r t e d a s a shadow. Perhaps on a f a l l i n g
hinged s e c t i o n . Something t h a t can be erased or s h i f t e d . (Magnetic
area) I n WHAT use a l i g h t and a m i r r o r . ' 5 5
Even the t i t l e may have been simply intended as 'WHAT' which would l e s s e n Duchamp
we a r e i n v i t e d t o use i t i n any way we choose. Johns does not make the title
o r i g i n a l a r e u n s a t i s f a c t o r y ( P l a t e XXXXVIII)]. In the l i g h t of W i t t g e n s t e i n i t
w h i t e background.
Picasso, Johns made a lithograph, Cup 4 Picasso (Plate XXXXIX) which uses the old par-
made by the onlooker' as well as a symbol of the sperm that appears i n Munch's
as i t may, i t ' s loneness - there are many examples of 'impact and drip' within
Wittgenstein again.
'But i f a sentence can s t r i k e me as l i k e a painting i n words, and
the very i n d i v i d u a l word i n the sentence as l i k e a p i c t u r e ,
then i t i s no such marvel that a word uttered i n isolation and
without purpose can seem to carry a p a r t i c u l a r meaning i n i t s e l f . ' ^
a quote of Wittgenstein's.
'He [Duchamp] said that he was ahead of his time. One guesses at a
certain lonliness there. Wittgenstein said that "time has only one
d i r e c t i o n " must be a piece of nonsense'^
yellow or blue. The l e t t e r s of the words never quite match up with their imprints.
The l e t t e r s of 'RED' affirm a redness but never of a uniform tone, due not only
S t a r t , J u b i l e e and D i v e r . The l a r g e r i g h t - h a n d a r e a f i n d s p a r a l l e l s i n
recognizability.
'Take an obj e c t .
Do something t o i t .
Do something e l s e t o i t .
it II il il II I b4
I t i s p o s s i b l e t h a t the l e n g t h o f newspaper i s a r e f e r e n c e to c r i t i c i s m
r e s p o n s i b i l i t y f o r meaning. I t may have been Johns whom IGage had i n mind when
he said:
Wittgenstein said:
If philosophy i s a voyage out and back rather than a move towards different
things so i s art for Johns and consequently, l i k e Duchamp, he does not have to
house and intends to l i v e there most of the time. In the interview with Vivien
Cage writes that Johns i s 'not interested i n working but only i n playing
3
games' and he says himself:
'I just know that i n the studio I'm doing a l l the work and I'm
f a i r l y lazy, and have never taken any pleasure i n compulsive
work.'4
anguish with Johns since he i s comfortably aware that the moment a work leaves
awareness. In the various interviews many of Johns' comments reveal not only a
Johns:
'We imagine ourselves on a tightrope only to discover that we are
safe on the ground. Caution i s unnecessary. Nevertheless, we
tremble more v i o l e n t l y than we did when we thought we were i n
danger.
Johns has given us our freedom but i n so doing has denied us the comforts
1952, p. 22.
4. Marshall McLuhan, The Medium i s the Massage, Bantam Books, 1967, p. 93.
T h i s i s i n agreement w i t h P e l l e g r i n i ' s b e l i e f t h a t , u n l i k e
Rauschenberg, Johns' p a i n t i n g i s so s e n s i t i v e 'That he i s a b l e
to produce e x t r a - o r d i n a r y c o n t r a s t s t o the b a n a l i t y of the
a r t i c l e s used.'
7 . i b i d , p. 26-27.
10. Max K o z l o f f , Jasper Johns, Harry Abrams, New York, 1968, p. 15.
17. i b i d . , p. 35.
23. See A l a n Solomon ' P a i n t i n g i n New York: 1944 to 1969', Pasadena A r t Museum,
27. i b i d . , p. 21.
44. o p . c i t . , p. 23.
P a u l , 1961, #1.21, p. 7.
7. i b i d . , #2.02331, p. 11.
8. See George H e n r i k von Wright's ' B i o g r a p h i c a l Sketch' published i n Malcolm,
W i t t g e n s t e i n : A Memoir, p. 8.
9. op. c i t . , p. 3.
12. i b i d . , p. x x i .
5. pp. c i t . , p. 40.
6. i b i d . , p. 40.
7. i b i d . , p. 27-28.
8. W i t t g e n s t e i n , P h i l o s o p h i c a l I n v e s t i g a t i o n s , #14, p. 7e.
9. op. c i t . , p. 40.
14. Rosalind Krauss, 'Jasper Johns', Lugano Review, v o l . 1, no. 2, 1965, p. 92.
8. i b i d . , p. 53.
16. K o z l o f f , p. 10.
31. Andrew Forge, 'The Emperor's F l a g ' , The New Statesman, v o l . 68, December
11th, 1964, p. 938.
33. W i t t g e n s t e i n , I n v e s t i g a t i o n s , p. 202e.
34. The t i t l e Passage c o u l d have come from Hart Crane's poem of the same
name which i n t u r n comes from Walt Whitman's Passage t o I n d i a . Barbara
Rose i n her C.A.A. t a l k suggests i t comes from Duchamp's The V i r g i n ' s
Passage t o the B r i d e . E q u a l l y i t c o u l d be a t t r i b u t e d Cezanne's use of
'passage' - t h e r u n n i n g t o g e t h e r o f p l a n e s o t h e r w i s e s e p a r a t e d i n
space - as we see a r e f e r e n c e t o the same i d e a of Cezanne's i n Johns
Sketchbook Notes (p. 187) and i n a quote i n c l u d e d i n Cage's 'Jasper
Johns" S t o r e s and Ideas' (A Year From Monday, p. 79).
35. Hart Crane, C o l l e c t e d Poems of tart Crane (ed. and i n t r o . Waldo Frank)
L i v e r i g h t I n c . , 1933, p. 32.
40. W i t t g e n s t e i n , I n v e s t i g a t i o n s , p. 198e.
47. i b i d . , p. 185-187.
49. Barbara Rose, draws the same p a r a l l e l between the Sketchbook Notes and
Investigations. C.A.A., 1974.
58. W i t t g e n s t e i n , I n v e s t i g a t i o n s , p. 207e.
61. W i t t g e n s t e i n , I n v e s t i g a t i o n s , p. 215e.
67. Quoted i n Maurice Tuchman, The New York S c h o o l , Thames and Hudson, 1965,
p. 76.
89
FOOTNOTES CONCLUSION
4. op. c i t . , p. 21.
8. i b i d . , p. 54.
PLATES
91
m\\W \WW\W\x
PLATE XX
California.
PLATE XXI The, 1957. Encaustic on canvas, 24 x 20". Collection Mrs.
Herbert Lee, Belmont, Massachusetts.
PLATE XXVIII Out the Window, 1959. Encaustic and collage on canvas
54-1/2 x 40". Collection Mr. and Mrs. R. S c u l l , New York.
105
PLATE XXIX
Fann, K. T. W i t t g e n s t e i n ' s C o n c e p t i o n of P h i l o s o p h y , L o n d o n : . B a s i l
B l a c k w e l l , 1969.
Gottlieb, Carla. 'The Pregnant Woman, The F l a g , the Eye: Three New Themes
i n 20th Century A r t ' . J o u r n a l o f A e s t h e t i c s and A r t
C r i t i c i s m (Winter, 1962), p. 117+.
'An I n t e r v i e w w i t h J a s p e r Johns'. A r t f o r u m , v o l , 3,
(March, 1965), pp. 33-36.
I n t e r v i e w i n The P o p u l a r Image, c a t a l o g u e of e x h i b i t i o n .
Washington, D.C.: Washington G a l l e r y of Modern A r t , 1963.
Kozloff, Max. ' A r t ' , The N a t i o n , v o l . 198 (March 16th, 1964), pp. 274-276,
1962.
pp. 20-22.