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Deutsche Bank sponsors the major Jasper Johns show in São Paulo
Surreal Product Landscapes - Jeff Koons in Frankfurt
A great performance: Artists from the Deutsche Bank Collection at documenta 13
Retro-Fictions: Made in Germany Two in Hanover
Pawel Althamer in Berlin, Bolzano, and Munich
An Invitation to See: Yto Barrada in the Ikon Gallery
Space for Wild Thought - The 2012 Paris Triennale


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Revolutionaries of American Art
Deutsche Bank sponsors the major Jasper Johns show in São Paulo

Flags, targets, maps—the everyday motifs of Jasper Johns’ searly paintings were a radical answer to the transcendent and almost sacred aims of Abstract Expressionism. At the same time, the 1930-born painter paved the way for Pop and Minimal Art. In 1960, Tatyana Grosman, the founder of Universal Limited Art Editions (ULAE), invited him to use her print workshop to add another dimension to his work. At ULAE, Johns began experimenting with the possibilities of a medium that was still new to him. It marked the beginning of an intense cooperation that continues to this day. Now, the exhibition Pares, Trios y Álbuns, on view at the Instituto Tomie Ohtake, São Paulo through August 26, shows how creatively Johns utilized the various graphic techniques. The exhibition presents around 70 prints and is sponsored by Deutsche Bank, which has already cooperated with the renowned institute in 2011: the striking building with its colorful Futurist façade housed the show Beuys and Beyond—Teaching as Art with works from the Deutsche Bank Collection in a dialogue with contemporary Brazilian art.

Pares, Trios y Álbuns was a hit among the public and press alike: “The most important show of the artist’s work in Brazil since one of his works was awarded at the 1967 Sao Paulo Biennale,” writes Veja, the country’s leading news magazine, while Vogue Brazil adds: “Anyone who visits the exhibition at the Instituto Tomie Ohtake will see how Jasper Johns revolutionized the art world.” And this can be seen not only in his paintings, but also in his graphic works. At the center of the show are prints the artist made at the ULAE print workshop, which organized the exhibition together with the Instituto Tomie Ohtake. In his first lithographs, Johns further developed the motifsof his iconic paintings, while works such as Decoy (1971), a collage-like composition, was made first as a print and only later recreated in paint. It’s precisely this chance to compare various different versions of a motif that makes it possible for the viewer to follow the creative process in detail.

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