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Psychiatrisches Handeln zielt auf das Wohl des psychisch Kranken, birgt jedoch auch das Risiko unerwunschter Wirkungen. Diese "Doppelgesichtigkeit" der Psychiatrie kommt etwa darin zum Ausdruck, dass Nutzen und Risiken vom Arzt oft anders beurteilt werden, als sie der Kranke erlebt und einschatzt. Ziel des Buches ist es, fur dieses gelegentlich als unlosbar antagonistisch beschriebene Spannungsverhaltnis komplementar zu verstehende Losungen zu entwickeln. Anhand konkreter, historisch begrundeter, am bio-psycho-sozialen Modell orientierter Beispiele wird das Problem psychiatrischer Nutzen-Risiko-Abwagungen anschaulich gemacht und die Ambivalenz psychiatrischen Handelns im Trialog von Psychiatrie, Patient und Gesellschaft konstruktiv-kritisch reflektiert.

In a remarkable feat of biography and criticism, Jill Johnston shows how the life and work of America's preeminent artist are inextricably linked. As we follow the arc of Jasper Johns's career - from the raw loft he lived in as an unknown artist to the dining rooms of wealthy collectors that he now frequents as a "consummated artist" - we discover an artist who has consistently introduced intensely intimate elements into his work yet is compelled to disguise and deny those very elements.The book begins with a mystery - Jill Johnston's search for the source of a hidden figure in a number of Johns's paintings. That figure - which she identifies as a grotesquely diseased and dying man - opens a path to the autobiographical core in the work of this most secretive of visual artists. Her discoveries lead us to the Johns family roots in South Carolina, and then to the New York art community of the early 1950s, when the fabulous foursome of Johns, Robert Rauschenberg, John Cage, and Merce Cunningham challenged the conventions of modern art, dance, and music. As Johnston charts the evolution of Johns's private and public identities, she interviews friends and associates and attends the openings and ceremonies that punctuate Johns's extraordinarily successful career. Along the way are several enigmatic encounters with Johns himself: a downtown luncheon interview, a chance meeting at the Venice Biennale, and a dinner with Johns and a number of his wealthy patrons at Si Newhouse's elegant Manhattan townhouse.Critics until now have been primarily concerned with Johns's formal strategies, seeing the autobiographical elements in his work as "privileged information," inappropriate for critical comment. But Johnston's achievement is to put this unexpected dimension of intimate information squarely at the center of his work. Readers of her brilliantly original account will come away with a larger, more resonant sense of Johns's art.

The Philadelphia Museum of Art, 1970. Softcover. 10 x 11". Good. Moderate soiling to the cover with creases and a short closed tear to the fore-edge of the front cover. The interior appears unmarked. The binding is intact.

The art of Jasper Johns has affected nearly every artistic movement from the 1950s to the presentJasper Johns is regarded as one of the most influential artists of the 20th century, and has remained central to American art since his arrival in New York in the 1950s. With his then partner Robert Rauschenberg, Johns helped to establish a decisive new direction in the art world, termed “Neo-Dada” at the time. Johns’ striking use of popular iconography, “things the mind already knows,” as he put it (flags, numbers, maps), made the familiar unfamiliar―and made a colossal impact in the art world, becoming a touchstone for Pop, minimalist and conceptual art.This handsomely illustrated book brings together Johns’ paintings, sculptures, prints and drawings. From his innovations in sculpture to his use of collage in paintings, it gives focus to different chapters of Johns’ career and examines the international significance of his work. Featuring contributions from a range of experts, this volume promises to explore the depth and breadth of Johns’ oeuvre, made over more than half a century. Jasper Johns (born 1930) made his major breakthrough as a painter in the mid-1950s when he started using iconic, popular images in his paintings―an explosive move at a moment when advanced painting was understood to be exclusively abstract. Johns’ midcentury paintings’ lush, painterly surfaces resemble those of Abstract Expressionism, but Johns arrived at them through slow, labor-intensive processes and mediums such as encaustic. Throughout his 60-year career Johns has worked with many different mediums and techniques, using the restlessness of his own process to explore the interplay of materials, meaning and representation in art.

The essential five-volume resource on the painting and sculpture of one of the world’s foremost contemporary artists For more than 60 years, Jasper Johns (b. 1930) has remained a singular figure in contemporary art. His most widely influential work—depictions of everyday objects and signs such as flags, targets, flashlights, and lightbulbs—helped change the face of the art world in the 1950s by introducing subject matter that stood in contrast to the prevailing style of Abstract Expressionism. In subsequent decades, Johns’s art has increasingly engaged issues of memory and mortality, often incorporating references to admired artistic predecessors.   This definitive 5-volume catalogue raisonné documents the entire body of painting and sculpture made by Johns from 1954 through 2014, encompassing 355 paintings and 86 sculptures. Each work is illustrated with a full-page reproduction, nearly all of which were commissioned expressly for this publication. A decade of research underpins the project, with thorough documentation of each object and an overarching monograph that represents the most comprehensive study of the artist’s work to date. All facets of the catalogue reflect the input of the artist, who worked closely with the author at all stages. 

Provides insight on the themes and meanings of paintings by Jasper Johns, and shares some of the author's conversations with Johns over the years

Centering on “The Dutch Wives” (1975), a double-panel encaustic-and-newsprint painting in the artist’s signature “crosshatch” motif, this catalogue explores the impact of print on the work of Jasper Johns (born 1930). The two panels of “The Dutch Wives” are imperfect duplicates of each other--a reminder that the process of the mechanical reproduction of words and images is never quite perfect. The book examines the concepts of “print” and “the press” in terms not only of printmaking and Johns’ celebrated experiments in that medium, but also in informational terms, tracing his frequent use of newsprint and its material, temporal, political, and formal implications. The publication also features prints and drawings by Johns that help demonstrate the aspects of printmaking that inform his entire oeuvre: repetition, reversal, indexicality, layering, sequencing and topology.

The perfect introduction to the life and art of Jasper Johns.

Paperback. Discover Jasper Johns as a passionate collector of drawings!From Paul Cezanne to Pablo Picasso to Willem de Kooning - the collection of Jasper Johns offers surprising juxtapositions. The drawings' consistently high quality is the result of his keen eye as a connoisseur, and many of the works are a testament to his friendships with other artists. In this catalogue, works by nearly fifty artists enter into an inspiring exchange that will fascinate experts and art lovers alike.Jasper Johns (b. 1930) ranks among the major American artists of the twentieth century. His accomplishments as a collector, however, have been little known until now. This beautifully produced volume features a selection of more than one hundred drawings, inviting you to dive into the richness and depth of a truly unique collection. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Profusely illustrated overview of Jasper Johns' art. Index. 128p. Illustrated end papers. Jasper Johns, Jr. (b. 1930) is an American contemporary artist who works primarily in painting and printmaking. Measures 8.5x11 inches.

One of the finest collections of contemporary American art is at the Meyerhoffs' Fitzhugh Farm, Maryland. This full-color volume presents their impressive holdings by these five American masters. Included are essays analyzing each artist's work in the contexts of their careers and of twentieth-century culture.

“My work is largely concerned with relations between seeing and knowing, seeing and saying, seeing and believing.”—Jasper Johns, 1965 Spanning over 60 years of Jasper Johns’s (b. 1930) prolific career, this spectacular publication is the most comprehensive and definitive study of the artist’s work to date. Written by noted Johns expert Roberta Bernstein, the book explores the synergy between continuity and change in the development of the artist’s work through 2014. The text is enlivened by the voluminous insight Bernstein has gained over decades of knowing the artist, and she incorporates Johns’s own unique manner of talking about his art through interviews and public statements. Each chapter is focused on a specific time period and its prevailing themes in Johns’s paintings and sculptures, and throughout the book related drawing and prints are referenced as contributions to an advanced understanding of the work. The book’s compelling subtitle (the phrase appears, camouflaged, in Johns’s 1966 painting Passage II), indicating an “eye” and an exhortation to “redo” it, neatly summarizes a persistent aspect of Johns’s art.  His works—at turns ambiguous, ironic, and poignant—simultaneously engage the visual senses and challenge habits of perception. Jasper Johns: Redo an Eye is a thoughtful celebration of how Johns’s art inspires the viewer to resist habits of perception, in turn affecting the way one experiences and interacts with the world: the hallmark of an extraordinary artist. 

This new edition presents a completely revised, expanded and updated version of a modern classic. Jasper Johns's recent pieces, with their puns, optical illusions and embedded images have attracted considerable critical attention. Crichton, who knows Johns and has collected his work for over 20 years, here offers intimate glimpses of the artist's potent and seemingly contradictory aspects. Accompanying the text is a whole portfolio of illustrations, providing an overview of his work as painter, sculptor and printmaker. Over 200 works are reproduced, including colour and foldout reproductions.

In 1873, John Stuart Stuart-Glennie elaborated a theory of 'the moral revolution' to characterize the historical shift from roughly 600 BCE in a variety of civilizations, as part of a critical theory of history. This book brings light to the now eclipsed theory and offers new contexts and understandings of the phenomenon.

One, two, three, four, five, six, seven, eight, nine, ten. And then some. Between 1954 and 1960, Jasper Johns developed his well-known repertory of flat images, including flags, targets, alphabets, words, maps, and numbers--subjects drawn not from popular culture so much as from human consciousness. His explorations of these familiar symbols drew attention to how reality is represented through such visual signs, and how we interpret them. This exhibition catalogue accompanies the first show to concentrate in depth on a single subject by Johns--Numbers--and it brings together painting, drawing, collage, and printmaking from all periods of his career, focusing on the years between 1955 and 1979. Included are an in-depth essay by curator Roberta Bernstein, who has written extensively on Johns, color plates of all the works in the exhibition, illustrations of other important works, and a list of all works by Johns on the subject, organized by theme.

Common symbols reinterpreted   Though his work is often categorized as Pop Art for its use of popular iconography and household objects, Jasper Johns can also be described as a Neo-Dadaist. Using wax-based paint, plaster relief, collage, and even commonplace objects such as brooms and rulers in his paintings, Johns achieves a sculptural texture in his work. He is arguably most known for his flag paintings of the 1950s (the Museum of Modern Art in New York recently paid over $20 million for White Flag), though other themes, including targets, numbers, letters, and maps, are also famously recurrent. Johns is widely considered one of the most important American artists of the 20th century.   About the Series: Each book in TASCHEN’s Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

With M. Prather and A. Mizrahi Zorn. 340 ill., 140 in colour (including 5 foldouts) . 4to pp. 346 Rilegato tela, sovracoperta (cloth, dust jacket) Perfetto (Mint)

Centering on “The Dutch Wives” (1975), a double-panel encaustic-and-newsprint painting in the artist’s signature “crosshatch” motif, this catalogue explores the impact of print on the work of Jasper Johns (born 1930). The two panels of “The Dutch Wives” are imperfect duplicates of each other--a reminder that the process of the mechanical reproduction of words and images is never quite perfect. The book examines the concepts of “print” and “the press” in terms not only of printmaking and Johns’ celebrated experiments in that medium, but also in informational terms, tracing his frequent use of newsprint and its material, temporal, political, and formal implications. The publication also features prints and drawings by Johns that help demonstrate the aspects of printmaking that inform his entire oeuvre: repetition, reversal, indexicality, layering, sequencing and topology.

Isa Genzken is arguably one of the most important and influential female artists of the past 30 years, yet the breadth of her achievement--which spans sculptures, paintings, photographs, collages, drawings, artist’s books, films, installations and public works--is still largely unknown in the United States. Published in conjunction with the first comprehensive retrospective of the artist’s epically diverse body of work, this publication encompasses Genzken’s work in all media over the past 40 years and is the most complete monograph on the artist available in English. Genzken has been part of the artistic discourse since she began exhibiting in the mid-1970s, but over the last decade a new generation of artists has been inspired by her radical inventiveness. The past ten years have been particularly productive for Genzken, who has created several bodies of work that have redefined assemblage for a new era. The catalogue presents Genzken’s career, through essays exploring the unfolding of her practice from 1973 until today, as well as an expansive plate section that provides a chronological overview of all her most important bodies of work and key exhibitions.Born in Germany in 1948, Isa Genzken is one of Germany’s most important living artists. In the mid-1970s, as a student at Düsseldorf’s renowned Kunstakademie, she created geometric wood sculptures, which gained her early international acclaim (she exhibited these works at Documenta 7 and the Venice Biennale in 1982). Since then, she has made sculptures in plaster, concrete and epoxy resin. Ranging in size from maquettes to monumental, these abstract works are influenced by Minimalism, but are decidedly narrative. Paintings that examine ideas of surface and light, as well as photographs, collages, artist’s books and films, followed in the 1990s. From the late 90s on, Genzken began to create increasingly complex sculptural installations.

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