Jasper Johns: Mind/Mirror

Sept 29, 2021–Feb 13, 2022

Jasper Johns’s groundbreaking work sent shock waves through the art world when it was first shown in the late 1950s, and he has continued to challenge new audiences—and himself—over a career spanning more than sixty-five years. He was born in 1930 in Augusta, Georgia; spent the majority of his adult life in New York; and today lives in Sharon, Connecticut, where, at the age of ninety-one, he remains active in his studio. Johns’s early use of common objects and motifs, language, and inventive materials and formats upended conventional notions of what an artwork is and can be. His profoundly generative practice helped spark movements including Pop art, Minimalism, and Conceptualism, among others, and has inspired successive generations of artists to this day.

Jasper Johns: Mind/Mirror is the most comprehensive retrospective ever devoted to Johns’s art. Featuring his most iconic works along with many others shown for the first time, it comprises a broad range of paintings, drawings, prints, and sculptures from 1954 to today across two sites. Conceived as a whole but displayed in two distinct parts, the exhibition appears simultaneously here at the Whitney and at the Philadelphia Museum of Art, two institutions with which Johns has had long-standing relationships. This unique dual structure draws on the artist’s lifelong fascination with mirroring and doubles, so that each half of the exhibition echoes and reflects the other. Organized in largely chronological order, the retrospective presents pairs of related galleries—one in each city—that offer varied perspectives on the artist’s turns of mind. Individually, each gallery focuses on a particular aspect of Johns’s thought and work through the lens of different themes, processes, images, mediums, and even emotional states. Taken together, they provide an immersive exploration of the many phases, treasures, and mysteries of a radical, enduring, and still-evolving career.

This exhibition is organized by the Whitney Museum of American Art and the Philadelphia Museum of Art.

The organizing curators are Carlos Basualdo, Keith L. and Katherine Sachs Senior Curator of Contemporary Art, Philadelphia Museum of Art, and Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator, Whitney Museum of American Art, New York, with Sarah B. Vogelman, Exhibition Assistant, in Philadelphia, and Lauren Young, Curatorial Assistant, in New York.

Jasper Johns: Mind/Mirror is organized by the Whitney Museum of American Art and the Philadelphia Museum of Art. 

Jasper Johns: Mind/Mirror is presented by

Leonard and Judy Lauder

Leadership support is provided by 

Kenneth C. Griffin 
Susan and John Hess  

Bank of America is the National Sponsor

 

In New York, this exhibition is sponsored by

Generous support is provided by Judy Hart Angelo; Neil G. Bluhm; Matthew Marks; and Kevin and Rosemary McNeely, Manitou Fund. 

Major support is provided by the Barbara Haskell American Fellows Legacy Fund; The Brown Foundation, Inc., of Houston; Nancy and Steve Crown; Anne and Joel Ehrenkranz; Ellsworth Kelly Foundation and Jack Shear; Agnes Gund; Kristen and Alexander Klabin; Helen and Charles Schwab; the Whitney’s National Committee; and an anonymous donor.  

Significant support is provided by Constance R. Caplan, Marguerite Steed Hoffman and Tom Lentz, the Jon and Mary Shirley Foundation, Sueyun and Gene Locks, Susan and Larry Marx, Marsha and Jeffrey Perelman, Donna Perret Rosen and Benjamin M. Rosen, The Robert Lehman Foundation, and Stefan T. Edlis and H. Gael Neeson Foundation. 

Additional support is provided by Aaron and Leslee Cowen, Kathy and Richard Fuld, Johanna and Leslie Garfield, Ashley Leeds and Christopher Harland, Mrs. Ronnie F. Heyman, Sheila and Bill Lambert, Barbara and Richard Lane, Margo Leavin, Janie C. Lee, Richard and Nancy Lubin, Martin Z. Margulies, the National Endowment for the Arts, Monique and Gregg Seibert, Norman Selby and Melissa Vail Selby, and Gloria H. Spivak.


This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

The opening dinner is sponsored by Christie’s 


New York magazine is the exclusive media sponsor.

Back

4 / 13

Previous Next

South Carolina

4

Jasper Johns has lived and worked in a variety of places that have indelibly shaped his thought and art, including New York, Tokyo, and the Caribbean island of St. Martin. This gallery explores aspects of his relationship to South Carolina, where he spent his childhood and army service before settling in New York in 1953. He returned in 1961, when he purchased a retreat at Edisto Beach, following his wrenching breakup with Robert Rauschenberg. The seaside locale was known for its natural beauty and the vibrant Black cultural legacy of the Gullah Geechee people, but it was also still under the sway of violent and oppressive Jim Crow laws.

Many of the works in this gallery were made on Edisto Island or reference the seaside and nearby locations in their atmosphere, imagery, and inscriptions. The beach became for Johns a site and symbol of transience, loss, memory, and longing—particularly as evident in a group of works that evoke his friendship with Frank O’Hara, a curator and poet who wrote stirringly about everyday life and queer desire.

These pieces from the 1960s accompany more recent works, made beginning in the 1990s, in which Johns mines recollections of his family and childhood. Related series of paintings, prints, and drawings feature images from his youth, including the floor plan of his grandfather’s house, where he was raised; gourd piggy banks; a Halloween costume; and a family portrait. Many of these motifs recur in combinative compositions, like fragments of memory flickering across the mind’s eye.

The corresponding gallery at the Philadelphia Museum of Art focuses on the artist’s relationship to Japan.

  • Overlapping rectangles of color: gray, white, blue, yellow, red.
    Overlapping rectangles of color: gray, white, blue, yellow, red.

    Jasper Johns, Studio, 1964. Oil on canvas with objects (two panels) 88 × 145 3/4 in. (223.5 × 370.2 cm) overall. Whitney Museum of American Art, New York; purchase, with partial funding from the Friends of the Whitney Museum of American Art 66.1a-c. © 2021 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), New York

  • Rectangular composition of gray, sketchy brushstrokes, bisected in half vertically by a thin black line and two hinges; the left half of the composition is bisected horizontally, with the top half painted in a warmer gray, and with a fork and spoon hung by a string pinned to the top of the left side of the painting.
    Rectangular composition of gray, sketchy brushstrokes, bisected in half vertically by a thin black line and two hinges; the left half of the composition is bisected horizontally, with the top half painted in a warmer gray, and with a fork and spoon hung by a string pinned to the top of the left side of the painting.

    Jasper Johns, In Memory of My Feelings—Frank O’Hara, 1961. Oil on canvas with objects (two panels), 40 × 59 in. (101.6 × 151.8 cm) overall. Museum of Contemporary Art, Chicago; partial gift of Apollo Plastics Corporation, courtesy of Stefan T. Edlis and H. Gael Neeson, 1995.114.a–d. © 2021 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), New York. The Art Institute of Chicago: photograph by Jamie Stukenberg, Professional Graphics, Rockford, Illinois

  • Sketch of an upside-down shoe sole, suspended by a vertical line on the left-hand side of the rectangular composition, and surrounded by shadowy charcoal smudges and squiggles, with arrows arcing out to the left and right of the show, indicating motion.
    Sketch of an upside-down shoe sole, suspended by a vertical line on the left-hand side of the rectangular composition, and surrounded by shadowy charcoal smudges and squiggles, with arrows arcing out to the left and right of the show, indicating motion.

    Jasper Johns, Edisto, 1962. Charcoal and graphite pencil on paper, 22 × 29 7/8 in. (55.9 × 75.9 cm). Collection of the artist. © 2021 Jasper Johns / VAGA at Artists Rights Society (ARS), New York. Photograph by Jerry L. Thompson

  • Layered rectangular composition of shapes, colors, and words, including floorplans, sketched figures, a cross, and a ladder.
    Layered rectangular composition of shapes, colors, and words, including floorplans, sketched figures, a cross, and a ladder.

    Jasper Johns, Untitled, 1992–94. Encaustic on canvas, 78 × 118 3/8 in. (198.1 × 300.7 cm). The Eli and Edythe L. Broad Collection. © 2021 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), New York. Photograph courtesy the Wildenstein Plattner Institute, New York

  • Smudgy gray impression of hand and foot prints, with a band of red, yellow, and blue in the upper right corner, through which forms of everyday objects emerge.
    Smudgy gray impression of hand and foot prints, with a band of red, yellow, and blue in the upper right corner, through which forms of everyday objects emerge.

    Jasper Johns, Pinion, 1966. Lithograph: two stones, one aluminum plate, 40 × 28 in. (101.6 × 71.1 cm). Printed by Zigmunds Priede; published by Universal Limited Art Editions. Edition no. 27/36. Whitney Museum of American Art, New York; gift of Mrs. Volney F. Righter, 66.110. © 2021 Jasper Johns and ULAE / VAGA at Artists Rights Society (ARS), New York

  • Tall, rectangular composition of argyle pattern and stylized drawing of a beast.
    Tall, rectangular composition of argyle pattern and stylized drawing of a beast.

    Jasper Johns, Untitled, 1998. Encaustic on canvas with objects, 44 1/8 × 22 1/2 in. (112.1 × 57.2 cm). Whitney Museum of American Art, New York; promised gift of Emily Fisher Landau P.2010.118. © 2021 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), New York

Artists

Events

View all

Essay

A young man sitting on the edge of a desk, looking at the viewer with a neutral expression, and holding a glass, against a backdrop of a painting on the wall and a collection of liquor bottles.

Jasper Johns: Mind/Mirror

By Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator

Read essay

Audio guides

Three American flags on top of each other.
Three American flags on top of each other.

Jasper Johns, Three Flags, 1958. Encaustic on canvas (three panels), 30 7/8 × 45 3/4 in. (78.4 × 116.2 cm) overall. 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. © 2021 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), New York

Hear from artists, curators, and scholars on selected works from the exhibition.

View guide

Exhibition Catalogue

Jasper Johns: Mind/Mirror book cover
Jasper Johns: Mind/Mirror book cover

Jasper Johns: Mind/Mirror catalogue cover

Jasper Johns (b. 1930) is arguably the most influential artist living today. Over the past sixty-five years, he has produced a radical and varied body of work marked by constant reinvention. Inspired by the artist’s long-standing fascination with mirroring and doubles, this book provides an original and exciting perspective on Johns’s work and its continued relevance.

A diverse group of curators, academics, artists, and writers offer a series of essays—including many paired texts—that consider aspects of the artist’s work, such as recurring motifs, explorations of place, and use of a wide array of media. These include Carroll Dunham on dreams, Ruth Fine on monotypes and working proofs, Michio Hayashi on Japan, Terrance Hayes on flags, and Colm Toíbín on nightmares, among many others. The various themes are further explored in a series of in-depth plate sections that combine prints, drawings, paintings, and sculptures to draw new connections in Johns’s vast output.

Accompanying “mirroring” exhibitions held simultaneously at the Whitney Museum of American Art and the Philadelphia Museum of Art, this lavishly illustrated volume features a selection of rarely published works along with never-before-published archival content and is full of revelations that allow us to engage with and understand the artist’s rich and varied body of work in new and meaningful ways.

Buy now

Explore works from this exhibition
in the Whitney's collection

View 97 works

In the News

“The structure of the exhibition will open a window onto the beauty, meaning, and remarkable artistic order that organizes Johns’s work.” —ArtfixDaily

“The artist’s work has managed to speak both to and for the country’s consciousness for the last 60 years—and he’s not done yet.” —T Magazine

"[A]n absolute must-see"—Vogue

"It’s a broad and restless confrontation of the work of one of the country’s best-known artists . . . ."  —Boston Globe

"This is the first genuine, must-see blockbuster exhibition to open since the pandemic began in 2019, and it might be an occasion for euphoria.” —Washington Post

"It’s a testimony to [Johns's] long, productive career that Jasper Johns: Mind/Mirror needs two museums . . . ." —Wall Street Journal

". . . a spectacular exhibition, spanning the artist's 65-year career and featuring many of his most iconic works as well as rare pieces on public view here for the first time."—Gothamist

"Mind/Mirror is a much-needed close-read, experimental new geography of this artist . . ."—New York Magazine

". . . a monumental retrospective [. . .] reveals an artist’s protean talent, changing perspectives and resiliency over six decades."—New York Times

On the Hour

A 30-second online art project:
Maya Man, A Realistic Day In My Life Living In New York City

Learn more about this project

Learn more at whitney.org/artport

On the Hour projects can contain motion and sound. To respect your accessibility settings autoplay is disabled.