{"title":"Jasper Johns","description":"\u003cp\u003eJasper Johns (born 1930) is an American artist whose paintings, sculptures and prints of flags, targets, numbers and maps helped define the transition from Abstract Expressionism to Pop art and Conceptualism in the late 1950s and 1960s. His use of familiar signs and symbols as subjects for sustained pictorial investigation raised fundamental questions about representation, perception and meaning. He received the Presidential Medal of Freedom in 2011 and remains one of the most exhibited and collected American artists of the twentieth century.\u003c\/p\u003e","products":[{"product_id":"aftershock-legacy-readymade-dickinson-roundell-invitation-2003","title":"RICHARD PRINCE, ELAINE STURTEVANT, CINDY SHERMAN et al.: Aftershock — The Legacy of the Readymade — Exhibition Invitation and Private-View Insert, Dickinson Roundell Inc., New York, 2003","description":"\u003cp\u003eExhibition invitation with private-view insert, Dickinson Roundell Inc., New York, 2003. Offset-printed three-panel folding invitation with separate translucent-paper private-view insert; 13 × 19.5 cm folded; 39.5 × 19 cm unfolded. Insert: 13 × 19.5 cm.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e good vintage condition; light handling and surface wear, minor edge and corner softening, and wear along the original folds. Insert remains present and in good condition.\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eAftershock: The Legacy of the Readymade in Post-War and Contemporary American Art\u003c\/em\u003e, held 5 May–20 June 2003 at Dickinson Roundell Inc., 19 East 66th Street, New York, and curated by Henry Allsopp. Artists included Elaine Sturtevant, Bruce Nauman, Claes Oldenburg, Cindy Sherman, Richard Prince, Louise Lawler, Sherrie Levine, Robert Gober, Félix González-Torres, Jeff Koons, Joseph Kosuth, Jasper Johns and others.\u003c\/p\u003e\u003cp\u003eThe design places the exhibition title in fluorescent green over an image of the bicycle-wheel readymade, with the participating artists’ names arranged in a circular spiral. Inside, individual works are reproduced across the folding panels. The original translucent private-view insert completes the set and is particularly vulnerable to separation or loss.\u003c\/p\u003e\u003cp\u003eThe exhibition examined the readymade’s continued influence across appropriation, replication, consumer objects and conceptual practice. Its accompanying 125-page catalogue included essays by Francis M. Naumann and Thomas Girst; the complete invitation set appears considerably less available and more scarce.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Dickinson Roundell Inc.","offers":[{"title":"Default Title","offer_id":54133622735186,"sku":"AFTERSHOCK-DICKINSONROUNDELL-INV-2003","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Anderson_Robert.Dine_Jim.Gober_Robert.Gonzales-Torres_Felixetal.Aftershockinviteandhandout.2003.jpg?v=1785352450"},{"product_id":"nina-felshin-verbally-charged-images-ici-new-york-1984","title":"NINA FELSHIN — Verbally Charged Images, Independent Curators Incorporated, New York, 1984","description":"\u003cp\u003eIndependent Curators Incorporated, New York, 1984. Curated by Nina Felshin. Staple-bound exhibition catalogue, 50 pages, 14 × 21 cm. Green printed wrappers; black-and-white and colour reproductions throughout. Artists include Roberta Allen, Ida Applebroog, Dotty Attie, John Baldessari, Luis Camnitzer, Robert Cumming, Vernon Fisher, Douglas Huebler, Jasper Johns, Barbara Kruger, Marcia Resnick, Karen Shaw, Alexis Smith, Anne Turyn and William Wegman.\u003c\/p\u003e\u003cp\u003eIt is a compact 1984 manual for one of the central struggles of the present: not who owns the image, but who gets to tell everyone what the image means.\u003c\/p\u003e\u003cp\u003eCurated by Nina Felshin for Independent Curators Incorporated, Verbally Charged Images gathers fifteen artists working at the point where photography, painting, Conceptual art and mass-media language begin interfering with one another. Its subject appears simple: words combined with images. Its proposition is not.\u003c\/p\u003e\u003cp\u003eFelshin is interested in the moment language stops behaving as explanation and begins operating on the image itself. A caption can redirect a photograph. A sentence can introduce guilt, humour, menace or doubt. Text can turn documentation into fiction and advertising into accusation. The picture may remain physically unchanged while its meaning moves somewhere else entirely.\u003c\/p\u003e\u003cp\u003eBarbara Kruger tells the viewer “You are a captive audience.” Douglas Huebler inserts conceptual propositions into painted space. Baldessari, Camnitzer, Applebroog, Resnick and others repeatedly expose the same mechanism: seeing is never entirely innocent once somebody else has supplied the words.\u003c\/p\u003e\u003cp\u003eForty-two years later, generative AI pushes the structure one stage further. The verbal charge no longer necessarily arrives after the picture. A sentence can now precede it, instruct it and produce it. Image → caption has become prompt → image → caption → circulation. The technology changed. The contest over framing did not.\u003c\/p\u003e\u003cp\u003eCondition: good. Visible rubbing and handling to wrappers, surface marks, edge wear and small creases consistent with circulation and age; internally sound.\u003c\/p\u003e","brand":"Independent Curators Incorporated","offers":[{"title":"Default Title","offer_id":54287484059986,"sku":null,"price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Felshin_Nina.VerballyChargedImages.1984.jpg?v=1786967412"}],"url":"https:\/\/thenewrare.com\/collections\/jasper-johns.oembed","provider":"The New Rare","version":"1.0","type":"link"}