Art

Within the imagery of the two sculptures of human figures, a great diversity in the imagery of these figures is presented through both subtle and overt differences. The most obvious difference is that one sculpture is prone on the ground while the other is standing. Upon closer inspection of the sculptures, we realize that one posture is very open and the other posture is closed. Such differences really are not subtle in terms of their thematic differences. An open posture is certainly far different from a closed one. When we explore such sculptures in terms of their relationship to theories about fascism and dictatorship, we gain an even further insight into the thematic conventions of the sculptures.
One the lying sculpture, we see a closed figure that is somewhat defeated in appearance. The prone imagery can lead one to assume the figure has become weak or compliant. The closed posture could infer a desire to be away from others. Perhaps, this could be indicative of fear as well as foreboding. Postures are often related to reactions to others. The closed posture would infer a withdrawal from interactions with others. The open posture, however, does not truly have an inviting one. Rather, it seems almost authoritarian in design since it presents hand gestures that would seem to be making directions in a somewhat forceful manner.

In regards to such analysis, consider the following statement from Art Informel and Art Brut How can one, in art, respond to the Nazi reign of terror without spectacularizing it This relates to the artwork in the most simplest of manner when you are living under the rule of the Nazis, you can only be part of the part or trampled by it.

Such political themes and their social impact can be visualized in the artwork in a number of ways.

The figure lying on the ground can be considered defeated and complacent in the face of Nazism. There is nowhere to go in a society that has been taken over and dominating by totalitarianism. As such, you must acquiesce to the rule. To remain safe in ones position is society it becomes necessary to close oneself from the inherent horrors that are also emerging at the time.

The standing sculpture takes on a completely different dimension beyond those themes in the first analysis. Rather, the standing figure is indicative of sentiments raised by Antonin Artaud which states For a mad man is also a man whom society did not want to hear and whom it wanted to prevent from uttering certain intolerable truths. (p.598) Could this refer to the notion the figure is sounding the alarm of the dangers of totalitarianism. But, since we are discussing the presentation of a mad man, the individual could also be maintaining an open posture as a means of promoting the communal nature that Nazism seeks to create by unifying people on nationalist and racial lines.

In a strange sense of irony, the more negative figure (the prone, defeated, and dejected image) may not necessarily be considered the villainous figure. The proud and pious appearing figure could also be a malevolent enemy. In some instances, images can be incongruent with the concept that a particular image would present. Then again, virtually the entire Nazi regime  or any totalitarian society  would be filled with incongruent imagery since such regimes often promise utopia while only ending up delivering misery.

Jasper Johns remains a uniquely brilliant artist whose impact on abstract and experimental art still resonates to this day. Some may find this surprising since the minimalist neo-Dada approach is not exactly elaborate in certain instances. With the painting TARGET WITH PLASTER CASTS, Johns brings forth another minimalist abstract and somewhat surrealist approach appears simple in its visual design. However, it does reflect a rather deep symbolism that covers a variety of themes.

At the core of this work is, of course, the target that is plainly and clearly visible. The presentation of a target would seemingly present the notion that what one sees truly is what it is. After all, a target is a target. This is not imagery that can easily be mistaken for something else. But, is this really so

The depiction of the target removes one very common component associated with a target. Namely, no one is invited to shoot a bullet or arrow into the painting of the target. Hence, the target is not really a target. Rather, it is the depiction of a target. This can be similar in many ways to the classic painting THIS IS NOT A PIPE (IT IS A PICTURE OF A PIPE) in the sense it warns the audience of the danger of making blatant assumptions about the subject matter and the themes it represents. In a humorous sense of irony, the target is designed to draw a great deal of attention for the purpose of promoting a theme that things are not really what they appear to be.

And, of course, the presence of the plaster images should not be forgotten. Granted, the viewer may completely ignore their presence due to the great attention one presents to the aforementioned target. Consider this assessment The reduction of the grand rhetoric of Abstract Expressionism to these terms is typical of Duchamps

deflationary anti-aesthetic impulse and yet again prefigures an entire postwar attitude. (After Modern Art) Such an assessment could refer to the notion that people seemingly develop a certain opinion of the world and its inhabitants due to their postwar experience. In some ways, this could lead to a limited perspective or one that is not entirely accurate. Again, this could refer to the focusing on the target while allowing everything else to fall into the background.

Most people that first view this particular work of art may not even notice the plaster faces and images that rest above the actual target. The reason for this is commonly the fact that the target will blatantly draw someones attention to the target while ignoring the peripheral images. This is most definitely a powerful philosophical sentiment because to concentrate on the target means you are not getting the complete image. This can point out the fallacy of drawing an opinion without all the facts even though such facts are present. In postwar societies, this may prove to be the preferred attitude to take as a means of separating oneself from the prior horrors of the war. However, such an approach can lead one to ignoring the potential dangers of history repeating itself once again.

An argument could be made that the stoic faces of the plaster images could be reflected of a somewhat drone based society. The expressionless images of the faces could represent a society that no longer wishes to engage. It drifts into the background while society itself becomes a target for regression since the populace is no longer engaged. This could be somewhat further ironic since the bright colors would be more indicative of brightness and being upbeat. However, a closer look at the themes reveals
the opposite.