Ray Johnson’s Art World will be on view at Richard L. Feigen & Co. through Friday, January 16, 2015

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Ray Johnson’s Art World

On view through
Friday, January 16, 2015

Richard L. Feigen & Co., 34 East 69th Street, New York, NY

Extended Hours: Saturday, January 10, 11:00am-5:00pm

Regular Hours: Monday through Friday, 10:00am-6:00pm

Ray Johnson, Self Portrait with Ed Ruscha Works, 1975-81-86-87, collage on illustration board, 9 x 11 1/4 inches.

“Johnson’s collages remain unrivaled in American art history, both for their sheer quantities and their technical intricacy.” – Utne

“[Ray Johnson] wooed legions of fans from his artistic peers, generation after generation, working alongside, behind, and around nearly everyone who mattered over the last half-century, and managing, therefore, to play a formative role in the major art movements of the late 20th century.” – New York Magazine

Ray Johnson’s Art World will be on view at Richard L. Feigen & Co. through Friday, January 16, 2015. The exhibition pairs original works by Johnson’s friends and contemporaries John Baldessari, Lynda Benglis, Chuck Close, Jasper Johns, Robert Rauschenberg, Ad Reinhardt, James Rosenquist, Edward Ruscha, Yoko Ono, and Andy Warhol with Johnson’s corresponding collage and mail art. Ray Johnson’s Art World provides a window into the complexity and intimacy of Johnson’s verbal and visual language, and reveals some of the ways in which Johnson’s work refers and responds to, parallels and confronts, the work of his friends and artists with whom he felt rapport.

Ray Johnson’s Art World is highlighted by original works by these artists, including John Baldessari’s Blasted Allegories (1978) an exploration into the complex structure of established rules and conditions governing the use and practice of image as language; original documentation of Lynda Benglis’s controversial 1974 Artforum spread, along with her sculpture Parenthesis (1975), consisting of two cast aluminum dildos in a velvet lined box; Yoko Ono’s Cut Piece (1964), filmed by the Maysles Brothers, a performance in which the audience can approach her with instructions to use a pair of scissors to cut her dress; an original Andy Warhol, Large Cambell’s Soup Can from 1964; and an important early collage by James Rosenquist, A Drawing While Waiting for an Idea (1966), which represents an Eastern philosophical turn in Rosenquist’s thought. These works and many more will be shown alongside Johnson’s independent exploration of the concepts, practices and interests he shared with his contemporaries and friends.

The exhibition is designed to compliment Elizabeth Zuba’s Not Nothing: Selected Writings by Ray Johnson, 1954-1994, a collection of over 200 unpublished writings that provides a textual parallel to Ray Johnson’s Art World.

Ray Johnson was born in Detroit, Michigan in 1927. He began his artistic training at Cass Technical High School, and then at Black Mountain College from 1945-48. In early 1949, Johnson moved to New York City with fellow Black Mountain associates Richard Lippold and John Cage, as well as the avant-garde musician Morton Feldman. Johnson’s body of work spans many media, but he is most known for his intricate and complex collages, and his mail art project, The New York Correspondance [sic] School, a movement that utilized the postal system as a means of distribution outside of the commercial art world and that eventually reached international proportions. In 1968, Johnson moved to Long Island, New York, where he lived and worked in increasing isolation. While Johnson has remained relatively unknown, he was an influence on a friend of key art figures, including Andy Warhol, Chuck Close, and Roy Lichtenstein. He is associated with several art movements and groups, such as Pop Art, Conceptual Art, and the Fluxus group. Johnson continued to produce work until his suicide in 1995, an act that many consider to be his final performance.

Left: Ray Johnson, Untitled (Lynda Benglis with Moticos), 1987, collage on illustration board, 12-7/8 by 8-3/4 inches, Right: Ray Johnson, Untitled (Campbell’s Soup with Cut-out Circles), c. 1973-88, collage on illustration board, 9 by 11-1/4 inches

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