The complete set of Target from Technics and Creativity: Offset lithograph on illustration board with three collaged cakes of dry watercolour pigment and a paintbrush, in white plastic book case with the exhibition catalogue "Technics And Creativity"
With the printed signature and the original certificate
The illustration board: 26 x 21.5 cm; 10 1/4 x 8 1/2 in
The plastic book case, open: 27 x 45 x 2 cm; 10 5/8 x 17 3/4 x 3/4 in
The plexiglass box frame: 28 x 45.5 x 4 cm; 11 x 17 7/8 x 1 5/8 in
From an unknown edition size. Published by Gemini G.E.L., Los Angeles, together with the Museum of Modern Art, New York.
The concept of the target has remained a central theme in Johns's artistic endeavors since 1955. He has depicted this seemingly straightforward image across various artistic mediums, skillfully transitioning between...
The concept of the target has remained a central theme in Johns's artistic endeavors since 1955. He has depicted this seemingly straightforward image across various artistic mediums, skillfully transitioning between contexts and materials. Johns's creative approach places a premium on the processes of artmaking and the spirit of experimentation, rather than seeking fixed or absolute interpretations. As the artist famously penned in his notebook during 1963-64: "Take an object / Do something to it / Do something else to it.”
This particular piece, featured in conjunction with the exhibition catalogue "Technics and Creativity," unveils the contours of five concentric circles. It is accompanied by three dried watercolour cakes in primary colours and a diminutive red paintbrush. In a sardonic twist, Johns subtly references the widespread and everyday nature of targets, while simultaneously alluding to the apparent simplicity of his celebrated creations. Below the artwork's stamped title and date, one finds the artist's signature, followed by the word "AND" with an empty line, seemingly poised for the addition of another name, which would be that of Johns's future collaborator. This, in turn, yields a paradox: the artwork can only be "completed" by someone else, but in doing so, there's the potential to compromise the artwork's integrity. Consequently, the piece must remain in a state of perpetual incompleteness.