MAPACA

Mid-Atlantic Popular &
American Culture Association

The story of Biloxi potter George Ohr (1856-1918) is legendary: after steadfastly proclaiming his greatness, Ohr’s pots were tucked away in an attic until their discovery in the 1960s, almost half a century later. Ohr’s success in the art world of 1970s New York confirmed his own prophecy and brought much critical attention. His wares have also been collected by such cutting edge artists as Andy Warhol and Jasper Johns, who has featured Ohr’s pottery in several of his paintings. This paper will focus on John’s collection of Ohr pottery and how they were utilized in his works Racing Thoughts (1983), Ventriloquist (1983), and three of the four aquatints from his “Seasons” series (1987). Johns captivated the1950s art world with his paintings of targets and flags known for their emotional detachment, easily recognizable mass imagery, and absence of self-reference. Yet his paintings Racing Thoughts, Ventriloquist, and the “Seasons” series mark a significant shift in his oeuvre toward a style that has been repeatedly interpreted as autobiographical . For the first time, Johns included personal objects from his life, objects which can also be interpreted as representing degrees of Americanness.
It is interesting to consider why Johns used Ohr pottery, among other objects, to be examples of self-reference. Johns’ identification of Ohr, both as an artist and as the embodiment of “American”, is probably rooted in his personal understanding of Ohr’s ruralized and Southern origins. Johns himself was from the small farming town of Allendale, SC and was educated there and at the University of South Carolina. Both men emphasize the unique, hand-crafted, thingness of their work, share a southern culture, and have cultivated distinctive personas. The parallels between these two artists, seemingly recognized and acknowledged by Johns himself, is a topic yet to be explored among scholars.