Scholar Jonathan Katz has noted that Johns's appropriation of images — including here stenciled alphabets, a flag, the hatching traditionally used for shading in printmaking — was also a way of encrypting his gay self. "I didn't want my work to be an exposure of my feelings," Johns said in 1973. "Abstract Expressionism was so lively — personal identity and painting were more or less the same, and I tried to operate the same way. But I found I couldn't do anything that would be identical with my feelings. So I worked in such a way that I could say that it's not me."
Read Greg Cook's blog at gregcookland.com/journal.
Related:
SLIDESHOW: ''Jasper Johns / In Press: The Crosshatch Works and the Logic of Print'', Brown's 'Faculty Triennial 2010', Marie Antoinette rules at ART, More 
- SLIDESHOW: ''Jasper Johns / In Press: The Crosshatch Works and the Logic of Print''
"Jasper Johns / In Press: The Crosshatch Works and the Logic of Print" | Harvard Art Museums/Arthur M. Sackler Museum, 485 Broadway, Cambridge | Through August 18, 2012
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Wedding Plans: Beyond Palindrome
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Wlodzimierz Ksiazek's exhibit of chunky, muscular abstract paintings at Rhode Island College's Bannister Gallery (600 Mount Pleasant Avenue, Providence, through March 30) is a dose of the old-time religion.
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