Sometimes I see it and then paint it. Other times I paint it and then see it. Both are impure situations, and I prefer neither.
Make something, a kind of object, which as it changes or falls apart (dies as it were) or increases in its parts (grows as it were) offers no clue as to what its state or form or nature was at any previous time. Physical and Metaphysical. Obstinacy. Could this be a useful object?
Interpretation
What this quote means
The quote explores the concept of creating art that doesn't reveal its past state or form, challenging perceptions of identity and change.
Jasper Johns' quote reflects on the idea of creating an object that does not reveal its history or transformation, inviting viewers to engage with the artwork without preconceived notions of its past. This raises philosophical questions about identity, change, and the essence of an object, challenging the observer to appreciate the present moment rather than focusing on a linear narrative of development or decay. It suggests that the nature of objects—both physical and metaphysical—can be understood and appreciated in a unique way that transcends their history.
Themes
In practice
Example use cases
In an art critique, one might use this quote to discuss the nature of abstract art and how it defies traditional interpretations.
More from Jasper Johns
All quotes →To be an artist you have to give up everything, including the desire to be a good artist.
The only logical thing I can think of is that I knew there were such things as artists, and I knew there were none where I lived. So I knew that to be an artist you had to be somewhere else. And I very much wanted to be somewhere else.
This image of wanting to be an artist - that I would in some way become an artist -was very strong. I knew for a long, long time that that's what I would be. But nothing I ever did seemed to bring me any nearer to the condition of being an artist. And I didn't know how to do it.
One wants one's work to be the world, but of course it's never the world. The work is in the world; it never contains the whole thing.
Sometime during the mid-50s I said, 'I am an artist.' Before that, for many years, I had said, 'I'm going to be an artist.' Then I went through a change of mind and a change of heart. What made 'going to be an artist' into 'being an artist', was, in part, a spiritual change.
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We have no longer an outside and an inside as two separate things. Now the outside may come inside and the inside may and does go outside. They are of each other. Form and function thus become one in design and execution if the nature of materials and method and purpose are all in unison.
My poems getting published in Russia doesn't make me feel in any fashion, to tell you the truth. I'm not trying to be coy, but it doesn't tickle my ego.
I love writing. I love the swirl and swing of words as they tangle with human emotions.
People who are knowledgeable about poetry sometimes discuss it in that knowing, rather hateful way in which oenophiles talk about wine: robust, delicate, muscular. This has nothing to do with how most of us experience it, the heart coming around the corner and unexpectedly running into the mind. Of all the words that have stuck to the ribs of my soul, poetry has been the most filling.
Cookery is a wholly unselfish art: as 'art for art's sake' it is unthinkable. A man may sing in his bath every morning without the least encouragement, but no cook can cook just for his or her own sake in a like manner. All good cooks, like all great artists, must have an audience worth cooking for.