"One likes to think that one anticipates changes in the spaces we inhabit, and our ideas about space"
About this Quote
Johns slips a whole philosophy of perception into that politely hedged opener: "One likes to think". It’s a quiet tell. The line doesn’t brag about visionary foresight; it exposes our vanity about having it. We tell ourselves we’re ready for what’s next - architecturally, socially, aesthetically - because admitting we’re reactive, not predictive, is embarrassing. Johns makes that embarrassment the subject.
The quote hinges on a double meaning of "space": literal rooms, galleries, studios; and the conceptual space of categories, expectations, and visual habits. Johns came up in a postwar America where the terms of looking were being rewritten in real time - Abstract Expressionism’s heroic gestures giving way to Pop’s blunt objects, Minimalism’s attention to the viewer’s body in a room, Conceptual art’s distrust of retinal pleasure. His own work lives in that fault line: flags, targets, numbers - images so preloaded with meaning they feel inevitable - are remade as stubborn things, thick with encaustic, refusing to stay purely symbolic. They don’t just occupy space; they change the mental room you’re standing in.
"Anticipates changes" is the fantasy of control: that we can update our sensibilities ahead of the world, as if taste were a software patch. Johns implies the opposite. The spaces we inhabit - civic space, art space, political space - change first, and our ideas scramble after, trying to retrofit coherence. The sentence is almost a self-portrait of the modern viewer: confident in theory, startled in practice, always arriving a beat late to the future.
The quote hinges on a double meaning of "space": literal rooms, galleries, studios; and the conceptual space of categories, expectations, and visual habits. Johns came up in a postwar America where the terms of looking were being rewritten in real time - Abstract Expressionism’s heroic gestures giving way to Pop’s blunt objects, Minimalism’s attention to the viewer’s body in a room, Conceptual art’s distrust of retinal pleasure. His own work lives in that fault line: flags, targets, numbers - images so preloaded with meaning they feel inevitable - are remade as stubborn things, thick with encaustic, refusing to stay purely symbolic. They don’t just occupy space; they change the mental room you’re standing in.
"Anticipates changes" is the fantasy of control: that we can update our sensibilities ahead of the world, as if taste were a software patch. Johns implies the opposite. The spaces we inhabit - civic space, art space, political space - change first, and our ideas scramble after, trying to retrofit coherence. The sentence is almost a self-portrait of the modern viewer: confident in theory, startled in practice, always arriving a beat late to the future.
Quote Details
| Topic | Art |
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