short circuit – Page 4

Wait, What? I Thought Johns’ Flag Was Stolen From Short Circuit In 1967.

In his review of the Robert Rauschenberg show at Gagosian, where the work is somehow different because it is for sale, Holland Cotter explains Short Circuit‘s origin as an attempt to get his recommended artists’ work into the Stable Gallery’s group show, but then whoa:

Only Mr. Johns and Ms. Weil, Rauschenberg’s ex-wife, came through with work on time, so into the cabinet went a little painting by each And, with one significant change, those two paintings are still there: Mr. Johns’s picture, a mini-version of one of his soon-to-be famous flag images, was stolen in 1965 and replaced by an Elaine Sturtevant copy.

Really? 1965? But didn’t I just get finished explaining how it was actually stolen in 1967? Yes, yes I did.
Or so I thought.
I won’t dwell on the fact that, though they were extremely responsive and helpful, Gagosian had already told me neither they nor the Rauschenberg Foundation had any record or idea of when Johns’s Flag painting was stolen.
But as I was about to send in my correction to the Times, I re-read Walter Hopps’ 1976 account:

The original flag painted by Jasper Johns was subsequently stolen and was replaced by a replica painted by Elaine Sturdevant [sic] at the time of the exhibition “Art in Process: The Visual Development of a Collage,” held at the Finch College Museum of Art in March 1967.

And you know what, it might be possible that the “subsequently stolen” does not, in fact, refer to the March 1967 show, and that the Sturtevant replacement took place “at the time of exhibition.” That is a possible reading.
But it doesn’t change the fact that texts and critical coverage of the Finch show so far makes no mention of the theft, or the replacement. And that a year into the traveling exhibition, Short Circuit‘s cabinet doors, which visitors had been able to open, were now nailed shut.
I’d also add that while the 1976 catalogue text mentions the theft, the reproduction of Short Circuit seems to include the original Johns flag. It certainly does not depict the Sturtevant Johns Flag that’s in there now. It’s almost as if the Sturtevant replacement decision was made in time for the 1976 show/catalogue, but not in time to have it photographed. [Or maybe Rauschenberg and/or Hopps didn’t see a need to rephotograph it? Which would be a separate set of interesting issues.]
So either Cotter knows something, or he’s wrong, and is just latching onto 1965 as the theft & replacement date because that’s when Sturtevant first showed her Johns Flags. Either way, I’ve added him to the interview list.

Short Circuit 2: Wheeere’s Johnny?

Alright, the search is on; I’m working to trace the history of Robert Rauschenberg’s 1955 combine Short Circuit and especially to figure out what happened to Jasper Johns’ flag painting, and when and how Sturtevant’s flag painting got in there, and what all that means.
When I first wrote about Short Circuit last week, there was no date or story or anything about how the flag disappeared, only that it had been described as “stolen.”

In his 1997 Rauschenberg catalogue, Paul Schimmel had mentioned the Johns Flag–which, like a painting by Rauschenberg’s ex-wife Susan Weil, was incorporated into the combine behind two cupboard-style doors–had been stolen while the work was on exhibit. Now I’ve found out where and when that was, I think.
In 1976, Walter Hopps curated a Rauschenberg retrospective at the National Collection of Fine Arts, which is now the Smithsonian’s Museum of American Art. From the catalogue:

The original flag painted by Jasper Johns was subsequently stolen and was replaced by a replica painted by Elaine Sturdevant [sic] at the time of the exhibition “Art in Process: The Visual Development of a Collage,” held at the Finch College Museum of Art in March 1967. In his statement for the exhibition catalogue, Rauschenberg commented, “This collage is a documentation of a particular event at a particular time and is still being affected. It is a double document.”
For Rauschenberg the work remains “a double document” of the past and the ongoing present. Recently, in commenting on the stolen encaustic, he has stated, “Some day I will paint the flag myself to try to rid the piece of the bad memories surrounding the theft. Even though Elaine Sturdevant did a beautiful job, I need the therapy.”

Much to unpack there, especially in that second quote. Wow.
But at least now we have a date and a place: Finch College Museum, March 1967. Finch was a women’s college on the Upper East Side. From the archival photos, the Museum looks like the basement floor in one of the school’s townhouses on East 78th Street [between Madison and Park]. In the 60’s, under the direction of Elayne Varian, the Finch Museum had a pretty advanced contemporary exhibition program.
[One of the top Google hits for Finch College turns out to be from Calvin Tomkins’ Rauschenberg bio. Legendary dealer Ivan Karp tells the story of how he was showing some girls from Finch around Castelli Gallery when Roy Lichtenstein walked in with his first comic panel paintings under his arm.]

“Art in Process” was an innovative series of exhibitions that placed sketches and models alongside finished works to examine the working practices of contemporary artists. An “Art in Process” show on Structure, for example, which went up in 1966 within months of the Jewish Museum’s seminal “Primary Structures” show, contained works by Lewitt, Judd, and Smithson, including the latter’s Enantiomorphic Chambers [on the right in the image above, via aaa.si.edu], which, ironically, was also lost.
Anyway, after its Spring 1967 debut at Finch, the Collage show traveled under the auspices of the American Federation of Arts. Though I can’t find the complete list of venues, in February 1968, it came to the Phillips in Washington, DC, where the Post’s sportswriter-turned-art-critic Paul Richard panned it by repeatedly dismissing collage as mindless random gluing and comparing it to the tacky “Snoopy’s valentines” everyone had just exchanged.

Except for Short Circuit, that is, which Richard called, “the best in the show.” Take note of his description, though, and that he specifically mentions reviewing all the extra documentation of the show in the Phillips back offices:

(When first exhibited, viewers could open the collage’s two hinged doors to discover two paintings, one a flag picture by Jasper Johns. They’re no longer visible. The doors have been nailed shut.)

No mention of the theft, the missing Johns, or any replacement. And the doors are shut on the paintings by the artist’s ex-wife and ex-partner. No musing, please!

Despite the mind-boggling variety of its components, the piece somehow holds together. The composition is bright and strong. It’s nice to think about (the viewer can muse on the various associations generated by relics of Miss [Judy] Garland, Lincoln and [John] Cage), but tracing the development of this work would be a hopeless task.

We shall see, Mr. Richard, we shall see.

Have You Seen Me? Jasper Johns’ Little Short Circuit Flag

The Rauschenberg show at Gagosian is pretty incredible, but then again, I’ve had Walter Hopps’ incredible show of Rauschenberg’s 50s work imprinted on my brain from day one.
Anyway, here’s a little art history mystery about one of the great 50s pieces in the show, Short Circuit, 1955, which, in addition to a Ray Johnson collage and a Susan Weil painting, originally included a small flag by Jasper Johns, the first one he ever exhibited publicly.

The flag that’s in there now is by Sturtevant [above], because, as Calvin Tomkins put it,

Some years later, after Johns had become famous, the little flag painting mysteriously disappeared from the mother-work. Later still, a dealer brought a small Johns flag into Leo Castelli’s gallery and asked if Leo could identify it–he said it had been offered to him by a third party. Castelli recognized it immediately as the missing element from Short Circuit. He told the dealer it had been stolen, and said he did not want it to leave the gallery. The dealer refused to part with it. He took the little painting away, and nobody has seen it since.

Nice, but not true. At least two people have seen it since: the dealer, and the perp. If they fenced it elsewhere, you can add a third or more. You stay classy, art world!
So what’s it like, when did it get lifted, and more importantly, where is it?
Thomas Crow’s history makes it sound like the Short Circuit flag was straight [sic] oil on canvas, and that Johns only later switched to the more laborious, anti-painterly medium of encaustic, which he showed in 1958. [uh, or maybe it was encaustic after all. see below.] Either way, Sturtevant’s flag certainly looks more Johnsian than Johns’s flag.
Short Circuit stayed in Rauschenberg’s own collection, which would necessarily limit who had access to the work. Sturtevant’s first show, in 1965, included Johns Flag, which only puts a starting date for when Rauschenberg might have had the work replaced, but provides no help in figuring out when Johns’ own flag went missing.
Let’s try and nail down some of these dates, though, and then see who might have been around Bob’s place at the time, shall we?
update:

OK, it sounds like Johns’ flag was still there when Leo Steinberg was talking to Bob and Jasper in 1961.
Wait, in a footnote in his 1994 book Figuring Jasper Johns, Fred Orton says the Short Circuit flag is, in fact encaustic, and that the combine is discussed in the Smithsonian’s catalogue for Rauschenberg’s 1976 retrospective. No mention of a missing flag, or Sturtevant.
Am I looking way too early? Well, at least by ~~1997~~ [whoops, 2005], the catalogue for Paul Schimmel’s MoCA Combines show is calling the flag an “Elaine Sturtevant replica.”
It also says the flag was stolen “by an unknown viewer,” so it was taken while on exhibit? Bonus Short Circuit trivia: Rauschenberg also invited Stan VanDerBeek to stick a work in, but he declined.

Huh, a good question from a British reader, who sent along an amusingly embarrassing story from the Daily Mail about some poor chump reporter’s attempt to authenticate a glaringly obvious Johns forgery he bought for a hundred pounds on Portobello Road: has this Short Circuit flag ever been registered as stolen? Because it sounds like Scotland Yard hasn’t heard of any missing Johns.
Off The Wall: A portrait of Robert Rauschenberg [excerpt via google books, thanks art unwashed]