Untitled (Blue) [working proof with tusche additions (2nd state)] 1982

Curator: Well, this mixed-media piece really grabs you, doesn’t it? It’s titled “Untitled (Blue) [working proof with tusche additions (2nd state)],” dating from 1982, created by Jasper Johns using screenprint, ink and other methods. Editor: My first impression is a controlled chaos. There's a visual weightiness due to the density of the monochrome palette, but it also exudes a curious restraint, like a scream muffled behind layers of fabric. Curator: Considering Johns’ history with printmaking, it's vital to look at the layers here – not just as representational forms, but as evidence of process, choices made and unmade. Notice how the tusche additions disrupt the smooth surface of the screenprint, emphasizing the physical act of creation. Editor: Yes, the strategic obscuring is key! I’m also thinking about how colour often functions as a signifier in Johns’ work. While this piece is predominantly monochrome, we get glimpses of ‘RED,’ ‘YELLOW,’ ‘BLUE’ rendered as signifiers, which point us towards conversations around racial identity. Do the layers of erasure suggest a historical effort to diminish or erase experiences? Curator: I agree. And observe the varied use of printmaking and tusche. It's clear this wasn't a quick, purely conceptual decision; there was sustained material engagement. It invites a deeper look at the artist's practice, his dialogue with materials. How can the method of screenprinting, as an industrial process, also be perceived as an intimate gesture? Editor: Exactly. We’re compelled to ask questions about what these symbols meant for Jasper Johns during the sociopolitical environment of the early 80's. Abstraction can allow for exploration of the self in relation to gender and other categories. This is not simply formal play, it is highly intentional, layered and deeply felt. Curator: And, as a working proof, this offers rare insight into that iterative studio labour. Editor: Precisely, this is not just art, it is also activism through a sophisticated use of process! Curator: For me, returning to that physical record keeps us anchored in production and the conditions of that production. Editor: Indeed! A potent example of how art engages with self, representation, and cultural identity, beyond the apparent aesthetic.