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Johns's followers even go so far as to see in them the transubstantiation of the familiar, a totem made from artistic taboo.

Author: /time Magazine | Title: Painting: Catcher of the Eye | 12/4/1964 | See Source »

Johns's choice of Ballantine ale cans came from an offhand remark by Abstract Expressionist Willem de Kooning to Johns's dealer, Leo Castelli: "Give that s.o.b. two beer cans and he could sell them." Johns proved he could (price: $1,000). Johns has also made art out...

Author: /time Magazine | Title: Painting: Catcher of the Eye | 12/4/1964 | See Source »

Johns chose subject matter that was purposely flat and familiar-U.S. flags, targets, maps, and the digits one to ten (see overleaf}. But to him, they are no more commonplace than the lemons of the still lifes of yesteryear. Transforming everyday objects into images of uncommon beauty is...

Author: /time Magazine | Title: Painting: Catcher of the Eye | 12/4/1964 | See Source »

All Johns's images share one common denominator: initially they are flat, two-dimensional subject matter. Most modern art since Manet has brought three-dimensional images closer and closer to the picture plane, like noses pressed against a window pane. Johns is totally uninterested in the game of perspective...

Author: /time Magazine | Title: Painting: Catcher of the Eye | 12/4/1964 | See Source »

Primary Colorfulness. By blending concrete images with paint for its own sake, Johns was trying to mix water and oil, as far as the art of the last 30 years is concerned. He would superimpose 0, 1,2,3 through 9 in a single image, making unnumerical gibberish of the...

Author: /time Magazine | Title: Painting: Catcher of the Eye | 12/4/1964 | See Source »

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