Jasper Johns' Maps series, initiated in the early 1960s, showcases his deep interest in reimagining everyday symbols and objects, inviting viewers to see the familiar anew. His 1961 painting "Map" is a striking example of this series, where Johns employed an "energetic application of paint" to depict the United States map, alongside parts of Mexico and Canada. The work is characterized by its vivid splashes of primary colors, abstract expressionist brushwork, and stenciled state names, creating a piece that is both recognizable and abstracted. Johns was inspired by a set of mimeographed outline maps of US states given to him by Robert Rauschenberg, aiming to transform a ubiquitous but overlooked image into a subject of artistic examination (Wikipedia).
Throughout the 1960s, Johns explored the map motif in various forms, including gray versions and a large mural for Expo 67 in Montreal. His approach varied, using different mediums like encaustic in addition to oil paint, to further investigate the map's conceptual and visual possibilities. This exploration underscores Johns' interest in the map not just as a geographical representation but as a canvas for questioning perception, boundaries, and the homogenization of post-war American society (Wikipedia).
In "Two Maps II" (1966), a lithograph in the series, Johns continues this interrogation, offering a printed version that maintains the thematic essence of his painted maps. This work, and others in the series, exemplify Johns' skill in using printmaking to extend and deepen his investigation into familiar symbols, demonstrating his ability to manipulate motifs across different mediums for varied conceptual and aesthetic effects (The Metropolitan Museum of Art).
Johns' Maps series represents a critical aspect of his broader oeuvre, which frequently engages with symbols of American identity and everyday objects. Through these works, Johns challenges viewers to reconsider the meaning and significance of the map as an object of both utility and beauty, a theme that resonates with his manipulation of other symbols like flags and numbers. His maps, while grounded in the recognizable forms of geographical territories, transcend their utilitarian origins to probe themes of nationalism, identity, and the nature of representation itself.