PROGRAMS EXPLORING THE LIFE AND WORK OF JASPER JOHNS
INCLUDE A FILM AND DISCUSSION,
AND LUNCHTIME TALKS AT THE MUSEUM
“Decoy” screens June 17 followed by a talk with Lorena Salcedo-Watson
and Chief Curator Alicia Longwell, who also gives the lunchtime talks June 16, 23, 30.
Alicia Longwell. Photo: Lenny Stucker; Lorena Salcedo-Watson; Still from Decoy, 1972. Director: Michael Blackwood
WATER MILL, NY. 6/2/2022—The Parrish Art Museum presents four programs that take a deep dive into the life and work of Jasper Johns, currently featured in the comprehensive survey An Art of Changes: Jasper Johns Prints, 1960-2018 at the Museum. The first program, on Friday June 17, is a screening of Michael Blackwood’s short documentary Decoy, followed by a talk with Alicia G. Longwell, Ph.D, Lewis B. and Dorothy Cullman Chief Curator, and artist/printmaker Lorena Salcedo-Watson who gained first-hand knowledge of Johns’s printmaking methodology though her extensive work with him at Universal Limited Art Editions. On three consecutive Thursdays, beginning June 16, Longwell will present informal lunchtime talks to discuss some of the dominant themes Johns explored throughout his career. In addition, several catalogues of work by the artist are available in the Museum Shop.
FILM & TALK | Decoy
Friday, June 17, 6 pm
The short documentary Decoy (Directed by Michael Blackwood, 1972, 18 minutes) explores how Jasper Johns created a series of paintings and prints entitled Decoy (one of which is featured in this exhibition) that are rooted in the notions of reproduction, transformation, and memory. Johns believes that an image gains new meaning each time it is presented. The film reveals how the artist boldly confronts this concept in his own past work—most notably Ale Cans (1964)—and uses Decoy as a method of metamorphosis. By repeating specific motifs, Johns explores how an image changes when placed in a different angle or new artistic context. As he notes in the film, “Each time a motif is used and reused additional memories accrue, new layers of meaning, and the image itself begins to acquire its own history.” Longwell and Salcedo-Watson will unpack this process and provide their insight into Johns’s methodology. (Bio of Salcedo-Watson appears below.)
LUNCHTIME TALKS WITH CHIEF CURATOR ALICIA LONGWELL
Thursdays, June 16, 23, 30. Noon – 1 pm
In three illustrated lunchtime talks, Longwell will discuss common themes explored by the Jasper Johns throughout his career. Guests are invited to preorder lunch through the Café at the Parrish to enjoy during the talk. A special offer includes a free regular coffee with any Café purchase, or a free bag of chips with the purchase of a salad or sandwich. Outside food is not permitted in the Museum.
Part I | Skin in the Game | June 16
Jasper Johns, Skin with O’Hara Poem, 1963-1965. Collection Walker Art Center, Gift of Judy and Kenneth Dayton, 1988. Courtesy of Universal Limited Art Editions
During the 1960s, Johns experimented with unusual tools for making marks on his canvases and drawings. They included his own body, which he used to make imprints—a more direct way of adding his “touch” to an artwork than traditional means such as brush or pencil. The unusual self-portrait Skin with O’Hara Poem is a literal impression of the artist, rather than a painted likeness.
Part II | Mr. Johns Regrets | June 23
Jasper Johns (American, born 1930). Regrets, 2014. Intaglio, chine collé on paper. Artist’s Proof 7/8, edition of 35. Published by Universal Limited Art Editions, West Islip, New York. Collection Walker Art Center, Minneapolis. Gift of the artist, 2015. Installation View: An Art of Changes: Jasper Johns Prints, 1960–2018, Parrish Art Museum, Water Mill, New York, April to July 10, 2022. Photo: Gary Mamay.
This talk focuses on Johns’s penchant for repetition of specific imagery and his well- known reticence for art world hubbub. In the Regrets series, the image is doubled and abstracted to the extent that the resulting shapes—rather than the figure—become the focus. In the upper right, Johns “signed” each work with an enlarged image of the rubber stamp he uses to decline invitations: “Regrets/Jasper Johns.”
Part III | Stars & Stripes | June 30
Jasper Johns (American, born 1930). Flags I, 1973. Screenprint on paper. Edition 3/65. Published by Simca Print Artists, Inc., New York. Collection Walker Art Center, Minneapolis. Gift of Judy and Kenneth Dayton, 1988.
Since 1955, Johns has made more than 100 images featuring the American flag in myriad forms—changing its orientation and size; fragmenting, mirroring, or doubling the image; and producing it with a variety of colors and paper types. This talk will explore Johns’s and other artist’s fascination with the American flag and the ways in which they have incorporated this motif into their work.
About Lorena Salcedo-Watson
Artist and master printer Salcedo-Watson’s work consists of large-scale drawings and prints focused on the relationships between the structures and essential qualities of life forms. Salcedo-Watson, a lecturer and Undergraduate Director at Stony Brook University, taught at St. Joseph’s College and Cooper Union (intaglio printmaking). She worked at Universal Limited Art Editions (ULAE) for 14 years as a master printer and has collaborated with artists including Carroll Dunham, Ellen Gallagher, Jane Hammond, Jasper Johns, Julian Lethbridge, Suzanne McClelland, Malcolm Morley, Elizabeth Murray, Robert Rauschenberg, James Rosenquist, Susan Rothenberg, Kiki Smith, Lisa Yuskavage, and Terry Winters.
Advance ticket purchase with pre-event registration is recommended. Limited tickets will be available at the door. All sales are final, non-transferable, and non-refundable.
These indoor events require proof of full vaccination for all attendees ages 5 and older in order to maintain a mask-optional environment; those 18 and older must provide a valid ID.
Friday Nights are made possible, in part, by Presenting Sponsor: Bank of America
Additional support provided by Weill Cornell Medicine – Southampton and The Corcoran Group
An Art of Changes: Jasper Johns Prints, 1960–2018 is organized by the Walker Art Center, Minneapolis. Major support is provided by Martha and Bruce Atwater and Judy Dayton. Additional support is provided by Robert and Rebecca Pohlad and Annette and John Whaley.
The Parrish Art Museum’s exhibitions and programs are made possible, in part, by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, and by the property taxpayers, from the Southampton Union Free School District and the Tuckahoe Common School District.
Parrish Art Museum
Inspired by the natural setting and artistic life of Long Island’s East End, the Parrish Art Museum illuminates the creative process and how art and artists transform our experiences and understanding of the world and how we live in it. The Museum fosters connections among individuals, art, and artists through care and interpretation of the collection, presentation of exhibitions, publications, educational initiatives, programs, and artists-in residence. The Parrish is a center for cultural engagement, an inspiration and destination for the region, the nation, and the world.
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Parrish Art Museum construction photographs © Jeff Heatley.