The Whitney's Collection: Selections from 1900 to 1965

Solo en Inglès

“I think that’s what our collection aims to be—to really ground people in the work of the particular moment, but also to show how historical work can have new resonance in our contemporary moment.”
—David Breslin, DeMartini Family Curator and Director of the Collection

Hear from a range of artists, curators, and scholars speaking about works on view.

Jasper Johns, Three Flags, 1958

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Scott Rothkopf: We’re looking at a painting called Three Flags by Jasper Johns.

Narrator: Scott Rothkopf is Senior Deputy Director and Nancy and Steve Crown Family Chief Curator.

Scott Rothkopf: It was painted in 1958, about four years after Johns made his first painting of a flag. He said that he painted a flag the first time because it was something that came to him in a dream and he also was interested in painting things that he said “are things the mind already knows.” That is, things that we see in our daily lives that the artist doesn’t make up. In that sense, the flag was also in a series that also included targets, numbers, and other forms that Johns didn’t invent, but could take right out of the culture and the images that were all around him.

At the time he did this, it was a really radical act because most of the painting that he would have seen in New York and admired were abstract expressionist canvases that were full of aggressive, exciting, something beautiful and diaphanous marks that painters supposedly made directly on the surface and invented as a way of thinking about picturing a new world. This, by contrast, was something we could all recognize, a flag, a really common symbol.

Three American flags on top of each other.

Scott Rothkopf: We’re looking at a painting called Three Flags by Jasper Johns.

Narrator: Scott Rothkopf is Senior Deputy Director and Nancy and Steve Crown Family Chief Curator.

Scott Rothkopf: It was painted in 1958, about four years after Johns made his first painting of a flag. He said that he painted a flag the first time because it was something that came to him in a dream and he also was interested in painting things that he said “are things the mind already knows.” That is, things that we see in our daily lives that the artist doesn’t make up. In that sense, the flag was also in a series that also included targets, numbers, and other forms that Johns didn’t invent, but could take right out of the culture and the images that were all around him.

At the time he did this, it was a really radical act because most of the painting that he would have seen in New York and admired were abstract expressionist canvases that were full of aggressive, exciting, something beautiful and diaphanous marks that painters supposedly made directly on the surface and invented as a way of thinking about picturing a new world. This, by contrast, was something we could all recognize, a flag, a really common symbol.


Jasper Johns, Three Flags, 1958. Encaustic on canvas, 30 5/8 x 45 1/2 x 4 5/8 in. (77.8 x 115.6 x 11.7 cm). Whitney Museum of American Art, New York; purchase with funds from the Gilman Foundation, Inc., The Lauder Foundation, A. Alfred Taubman, Laura–Lee Whittier Woods, Howard Lipman, and Ed Downe in honor of the Museum's 50th Anniversary 80.32. Art © Jasper Johns/Licensed by VAGA, New York, NY