https://amgreatness.com/2021/10/16/art-under-peer-pressure/
The Whitney Museum of American Art in New York is just so excited to introduce us to “Jasper Johns: Mind/Mirror,” its huge retrospective of Johns’ work from the 1950s to the day before yesterday. (Indeed, it’s so huge that New York wasn’t big enough to house it. Part of the exhibition is on view at the Philadelphia Museum of Art. But it doesn’t matter where you start. As Bertie Wooster said in another context, “Slice him where you will, a hellhound is still a hellhound.”)
Quoth the Whitney: “Jasper Johns’ 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.”
“Groundbreaking”? “Shock waves”? “Challenge”? The only thing that Johns’ work—all those crude paintings of American flags, targets, and images swiped ( er, “appropriated”) from innocent teens—the only thing it all challenges is one’s credulity; a credulity, I admit, that cannot help being attended by a certain mixture contempt and envy when you discover that these daubs regularly fetch millions of dollars. Even Hunter Biden must be envious.
The truth is that the images bearing the name of Jasper Johns deserve an honored place not in the history of art but in the history of publicity—department of cheap tricks and mercenary genius.
In this respect, Johns’ oeuvre resembles that of many other celebrated figures in the art world (not to be confused with the world of art), not least his longtime lover and sometime collaborator Robert Rauschenberg, who died in 2008 at 82.
When Rauschenberg died, the Hosannas were loud and predictable. Michael Kimmelman, then chief art critic for the New York Times, spoke for the terminally infatuated when he praised Rauschenberg as an artist who “time and again reshaped art in the 20th century,” whose work “gave new meaning to sculpture,” and whose promiscuous dabblings “defied the traditional idea that an artist stick to one medium or style.” (Unlike, for example, Leonardo da Vinci, who painted, sculpted, designed buildings, composed music, and did serious mathematical, engineering, and scientific work.)