The print pictured above is by the outstanding American artist Jasper Johns. The print was made by Johns coating his skin with oil and then impressing his face and hands onto a sensitised litho plate. Charcoal was rubbed onto the plate and the image fixed before printing. The plate was printed onto engineers drafting paper and a Frank O’hara poem superimposed. The image is the ‘unwound’ details of the artist’s features, it fixes the artist, not as a drawing might but in actuality… an image not of who he is so much as what he is, (or was).
The image below comes from kabuki theatre. It is the impression of a kabuki actor’s face make up, specifically the remains of the kumadori paint from an actor specialising in the aragato style.
This is the oldest oshiguma known to exist, and how like the image of Jasper Johns’ ‘performance’ as an artist in 1964 it is. Both the objects are relics of the moment, souvenirs of the artist. Both images are highly valued; a copy of the Johns print from an edition of thirty sold at Christie’s in 2008 for $58,000. Oshiguma don’t usually fetch that much but there is fierce competition among fans after each performance and these antique examples are very highly prized indeed. Below is a print by Kunisada from 1849 of the very production that the oshiguma above was taken from:
We shall be looking more closely at Johns’ work and how it uses ukiyo-e and references aspects of Japanese art in future posts.