Priya Kapoor
Jasper Johns, a pioneering figure in the American art scene, painted his first target in 1955, marking a pivotal moment in his career and the broader trajectory of contemporary art. This iconic work, titled Target, emerged during a period of experimentation and self-discovery for Johns, who was then in his mid-twenties. The target motif, characterized by its concentric circles and bold simplicity, became a recurring theme in his oeuvre, symbolizing both the mundane and the profound. Johns’ use of the target challenged traditional notions of art by incorporating everyday imagery and questioning the nature of representation. This early work not only solidified his reputation as a leading figure in the Neo-Dada and Pop Art movements but also underscored his enduring influence on the art world.
| Characteristics | Values |
|---|---|
| Year | 1955 |
| Title | "Target" |
| Medium | Encaustic, oil, and collage on canvas |
| Dimensions | 72 x 72 inches (182.9 x 182.9 cm) |
| Location | Created in New York City |
| Current Collection | Private collection (sold at auction in 2018 for $80 million) |
| Significance | Considered a seminal work in the development of Neo-Dada and Pop Art movements |
| Inspiration | Reportedly inspired by a dream of a painted target |
| Technique | Utilized a combination of encaustic (wax-based paint) and oil paint, with collage elements |
| Style | Characterized by its bold, graphic imagery and flat, unmodulated surfaces |
| Context | Created during a period of experimentation and innovation in American art, influenced by artists like Robert Rauschenberg |
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What You'll Learn
- Early Artistic Influences: Johns' exposure to Dada and Abstract Expressionism shaped his approach to the target motif
- First Target Creation: Painted in 1955, the first target marked a pivotal moment in his career
- Inspiration Behind Targets: Johns drew inspiration from everyday objects, including targets, to challenge artistic norms
- Techniques Used: He employed encaustic and collage methods to create texture and depth in his targets
- Cultural Impact: The target paintings became iconic, symbolizing post-war American identity and artistic rebellion
Early Artistic Influences: Johns' exposure to Dada and Abstract Expressionism shaped his approach to the target motif
Jasper Johns’ first target painting, *Target with Four Faces* (1955), emerged from a crucible of early artistic influences that fused the irreverence of Dada with the emotional intensity of Abstract Expressionism. Dada’s rejection of traditional art conventions—its embrace of chance, found objects, and anti-art sentiment—gave Johns permission to question the very nature of art. Abstract Expressionism, with its emphasis on gesture, subconscious expression, and the physical act of painting, provided a framework for his exploration of form and meaning. Together, these movements shaped Johns’ approach to the target motif, transforming it from a mundane symbol into a profound commentary on perception and representation.
Consider the target as a visual pun, a hallmark of Dada’s playful subversion. By appropriating a familiar, utilitarian object, Johns echoed Marcel Duchamp’s readymades, which challenged the sanctity of artistic originality. Yet, unlike Duchamp’s detached irony, Johns’ targets were meticulously painted, their concentric rings rendered with the precision of a craftsman. This tension between the banal and the sublime reflects Abstract Expressionism’s focus on process and materiality. The target became a canvas for Johns’ exploration of paint as both medium and subject, its flatness and repetition questioning the boundaries of abstraction and representation.
To understand Johns’ innovation, imagine the target as a bridge between two worlds. On one side lies Dada’s skepticism of art’s purpose; on the other, Abstract Expressionism’s belief in its emotional and spiritual power. Johns’ targets occupy this liminal space, inviting viewers to confront their own assumptions about what art should be. For instance, the act of painting a target—a symbol of precision and aim—with the gestural freedom of Abstract Expressionism creates a paradox. It challenges the viewer to reconcile the object’s familiarity with its enigmatic presence as art.
Practically, Johns’ method can be seen as a three-step process: selection, transformation, and recontextualization. First, he selected the target, a symbol stripped of its original function. Second, he transformed it through meticulous painting, imbuing it with the physicality and texture of Abstract Expressionist works. Finally, he recontextualized it within the gallery space, forcing viewers to engage with it as art rather than object. This approach not only redefined the target but also expanded the possibilities of what art could be, bridging the gap between the everyday and the extraordinary.
In conclusion, Johns’ exposure to Dada and Abstract Expressionism was not merely a backdrop to his work but the very foundation of his target motif. By merging Dada’s subversive spirit with Abstract Expressionism’s emotional depth, he created a body of work that continues to challenge and inspire. The target, once a simple symbol, became a vehicle for exploring the complexities of perception, representation, and the very essence of art itself.
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First Target Creation: Painted in 1955, the first target marked a pivotal moment in his career
Jasper Johns’ first target painting, created in 1955, was more than just a canvas—it was a declaration of artistic rebellion. At a time when Abstract Expressionism dominated the art world, Johns’ bold, recognizable imagery challenged the prevailing emphasis on emotion and spontaneity. The target, a mundane object stripped of personal expression, forced viewers to confront the very nature of art itself. This act of defiance wasn’t just stylistic; it was philosophical, questioning what art could be and how it could engage with the everyday.
To understand the impact of this work, consider the steps Johns took to create it. He began with a simple, symmetrical target, a form devoid of the artist’s hand in its original design. By painting it meticulously, he blurred the line between the manufactured and the handmade, between the ordinary and the extraordinary. This process wasn’t about expressing inner turmoil but about presenting a neutral object that invited interpretation. For artists or enthusiasts looking to replicate this approach, start with a clear, unemotional subject and focus on precision over flourish. The goal is to make the familiar unfamiliar, to force the viewer to see anew.
The first target also marked a pivotal shift in Johns’ career, propelling him into the forefront of the emerging Pop Art movement. While artists like Andy Warhol were still years away from their iconic works, Johns’ target laid the groundwork by elevating everyday imagery to the status of high art. This strategic move wasn’t just about aesthetics; it was about reclaiming the ordinary as a valid subject for artistic exploration. For those seeking to emulate this career-defining moment, identify a mundane object that resonates with you and explore it through a new lens. The key is to challenge conventions, not just follow them.
Finally, the target’s enduring legacy lies in its ability to provoke questions rather than provide answers. Why does a simple target captivate us? What does it mean to elevate the ordinary? These are the inquiries Johns’ work continues to inspire. For educators or artists working with younger audiences (ages 12 and up), use the target as a starting point for discussions about art’s purpose and boundaries. Encourage students to create their own versions, experimenting with scale, color, and medium. The takeaway? Art doesn’t always need to be profound—sometimes, it just needs to be seen.
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Inspiration Behind Targets: Johns drew inspiration from everyday objects, including targets, to challenge artistic norms
Jasper Johns’ first target painting, *Target with Four Faces* (1955), emerged from a dream where he saw himself painting just that—a target. This seemingly mundane object became a cornerstone of his artistic rebellion. Johns, disillusioned with Abstract Expressionism’s emotional intensity, sought to ground art in the tangible. Targets, with their geometric precision and cultural familiarity, offered a perfect vehicle. By elevating everyday objects to the status of high art, Johns challenged the notion that artistic value required abstraction or profundity. His targets were both a return to simplicity and a provocation, asking viewers to reconsider what art could be.
Consider the target’s duality: it’s a symbol of aim and focus, yet also a flat, unassuming shape. Johns exploited this tension, stripping the target of its functional context and forcing viewers to confront it as pure form. His process involved meticulous layering of encaustic and collage, a technique that added depth while maintaining the object’s flatness. This approach mirrored his broader aim to blur the line between representation and abstraction. For artists or enthusiasts looking to emulate Johns’ method, start by observing everyday objects with fresh eyes. Ask: What hidden meanings or forms can I extract? Experiment with mixed media to create texture while preserving the object’s inherent simplicity.
Johns’ targets also served as a critique of artistic originality. By appropriating a universally recognizable symbol, he questioned the value of novelty in art. This act of repurposing was radical in the 1950s, predating Pop Art’s similar explorations. For educators or students, use Johns’ targets as a case study in subversion. Encourage learners to identify commonplace items and reimagine them in unconventional contexts. For instance, a clock could become a commentary on time’s tyranny, or a chair could symbolize power dynamics. The key is to challenge assumptions about what constitutes art.
Finally, Johns’ targets invite a practical takeaway: inspiration is everywhere, but it requires intentional looking. His work reminds us that artistic innovation doesn’t always demand the new—it can emerge from recontextualizing the old. For aspiring artists, dedicate time to a “found object challenge.” Spend a week collecting everyday items (a spoon, a map, a shoelace) and transform them into art. Limit yourself to minimal alteration, focusing instead on presentation and perspective. This exercise, inspired by Johns’ targets, fosters creativity while honoring the power of the ordinary.
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Techniques Used: He employed encaustic and collage methods to create texture and depth in his targets
Jasper Johns’ first target painting, created in 1955, marked a pivotal moment in his career and the art world. To achieve the distinctive texture and depth in his targets, Johns employed two unconventional techniques: encaustic and collage. Encaustic, an ancient method involving pigment mixed with hot wax, allowed him to build layers of color and create a tactile surface. This technique not only added physical depth but also imbued the work with a sense of history and permanence. By contrast, collage introduced fragments of everyday materials, such as newspaper clippings or fabric, which disrupted the target’s uniformity and invited viewers to engage with its multifaceted composition. Together, these methods transformed the target from a simple symbol into a complex, multidimensional object.
Consider the process of encaustic painting as a recipe for depth. Johns would heat beeswax and blend it with oil paint, applying the mixture to the canvas in layers. Each layer required careful manipulation—smoothing, scraping, or incising—to achieve the desired texture. For instance, the concentric rings of the target could be built up gradually, with the wax cooling and hardening between applications. This labor-intensive method demanded precision and patience, as the wax could crack or warp if mishandled. The result, however, was a surface that seemed to glow from within, its richness enhanced by the translucency of the wax. For artists experimenting with encaustic, a tip: maintain a consistent heat source and work in thin layers to avoid uneven drying.
Collage, on the other hand, served as Johns’ tool for fragmentation and reassembly. By incorporating found materials, he disrupted the target’s geometric precision, introducing elements of chance and spontaneity. A scrap of newspaper might overlap a painted ring, or a piece of fabric could soften the hardness of the target’s edges. This technique not only added visual interest but also challenged viewers to reconcile the familiar with the unexpected. For those inspired to try collage, start by gathering materials that contrast in texture and color. Experiment with layering and placement, allowing the materials to guide the composition rather than forcing them into a predetermined structure.
The interplay between encaustic and collage in Johns’ targets exemplifies his ability to merge tradition with innovation. While encaustic rooted the work in historical techniques, collage propelled it into the realm of contemporary experimentation. This duality mirrors the targets themselves—simultaneously iconic and enigmatic, simple and complex. For art educators, these techniques offer a valuable lesson in balancing structure and spontaneity. Encourage students to explore encaustic’s precision alongside collage’s unpredictability, fostering a deeper understanding of how materials can shape meaning.
In practical terms, combining encaustic and collage requires careful planning and execution. Begin by preparing a stable surface, such as a primed canvas or wooden panel, to withstand the heat of the wax. When adding collage elements, ensure they are securely adhered to the surface before applying encaustic layers, as the wax’s heat can loosen poorly attached materials. For safety, work in a well-ventilated area and use a respirator when heating wax. The end result—a target that feels both timeless and contemporary—is a testament to Johns’ mastery of these techniques and their potential to elevate even the most familiar imagery.
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Cultural Impact: The target paintings became iconic, symbolizing post-war American identity and artistic rebellion
Jasper Johns painted his first target in 1955, a moment that would forever alter the trajectory of American art. This bold, deceptively simple image—a red, white, and blue target—was more than just a visual motif. It was a provocation, a challenge to the status quo, and a mirror held up to a nation grappling with its post-war identity. The target paintings quickly transcended their canvas origins, becoming cultural touchstones that symbolized both the anxieties and aspirations of a rapidly changing America.
Consider the context: the mid-1950s were a time of Cold War tensions, consumerism, and a growing disillusionment with abstract expressionism’s emotional intensity. Johns’ targets, with their flat, uninflected surfaces and familiar imagery, offered a stark contrast. They were neither abstract nor overtly political, yet they carried a subversive charge. By appropriating a mundane object—the kind you’d find at a shooting range or a carnival—Johns forced viewers to question what constituted art and, by extension, what defined American culture. This act of rebellion wasn’t loud or aggressive; it was quiet, insistent, and utterly transformative.
To understand the target’s impact, imagine it as a cultural Rorschach test. For some, it evoked the precision and uniformity of post-war industrial design, reflecting America’s technological optimism. For others, it hinted at violence and vulnerability, a reminder of the nation’s militaristic undercurrents. This duality is what made the target so powerful. It didn’t prescribe a single meaning; instead, it invited interpretation, making it a versatile symbol for a fragmented society. Artists, critics, and the public alike were drawn to its ambiguity, using it as a lens to explore themes of identity, consumerism, and the very nature of art itself.
Practical tip: When analyzing Johns’ targets in an educational or artistic context, encourage viewers to engage with the work on a personal level. Ask questions like, “What does this image make you think of?” or “How does it reflect your understanding of American culture?” This approach not only deepens appreciation for the artwork but also highlights its enduring relevance. For educators, pairing the target paintings with discussions of post-war American history can provide a rich interdisciplinary experience, bridging art, politics, and sociology.
Ultimately, the target paintings’ cultural impact lies in their ability to encapsulate a moment while remaining timeless. They are a testament to Johns’ genius in transforming the ordinary into the extraordinary, and to the power of art to challenge, provoke, and unite. In a world where symbols are constantly contested and redefined, the target remains a reminder of art’s capacity to reflect and shape the collective consciousness. Its iconic status isn’t just a product of its time; it’s a living legacy that continues to inspire and interrogate.
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Frequently asked questions
Jasper Johns painted his first target in 1955.
The first target painting by Jasper Johns is titled "Target" (1955).
Jasper Johns was inspired by everyday objects and symbols, including the target, which he saw as a universal and recognizable image. He aimed to challenge traditional notions of art by using such familiar motifs.
