Untitled (Purple Mezzotint) [trial proof J] 1995

Curator: Looking at Jasper Johns' "Untitled (Purple Mezzotint) [trial proof J]" from 1995, what grabs your attention first? Editor: The intense violet hue, definitely. It’s a really dense field of color, yet with incredible tonal variation. The composition is quite enigmatic too. Curator: Johns was deeply engaged with printmaking. Mezzotint, with its capacity for rich blacks and subtle gradations, became an important part of his process during this period. One wonders if this trial proof J indicates the significance of exploring the boundaries of print and its possibilities. Editor: The way he uses the mezzotint is very intriguing. It's like he’s excavating forms from a dark ground. There’s this strange square floating in the center that feels really unstable, like it could collapse. Curator: Well, Johns often layers images and motifs, drawing on art history, personal experiences, and the broader cultural landscape. I read this work in conversation with his recurrent engagement with symbols and emblems. Perhaps even as an engagement with his own place and artistic value. Editor: True, the layering is very tactile; the way he juxtaposes the abstract background with these more graphic elements really animates the whole surface. It gives it a certain energy, wouldn’t you agree? Curator: Absolutely, but also look at the use of language near the bottom edge. It may act as a foundation that he then plays on to engage in social criticism. And perhaps is even a critique of formal techniques and methods within the artistic realm. Editor: Hmm, interesting take! Ultimately the way that Jasper Johns manages to manipulate a traditionally antiquated art form to create his unique brand is very commendable and intriguing! Curator: A truly commendable insight; hopefully those who will have the chance to view this artwork in the gallery will understand the importance of understanding the context behind art such as Johns'!