Jasper Johns White Flag 1955 Metropolitan Museum of Art
George Zimmerman, recently acquitted of murdering Trayvon Martin in Florida, has taken up the life of an artist. His flag painting, posted for sale on eBay, is reported to be up for bid at $100,000. Both George Zimmerman and Jasper Johns grew up in the Southeast--George in Virginia and Jasper Johns in South Carolina--and both have painted representations of the American Flag. But as in the prototypical final art history questions from college art classes where students are asked to compare and contrast two works of art, these two flags couldn't be further apart in form and nuanced content.
Zimmerman's flag is hard-edged, linear and conceptual. It broadcasts a literal visual re-interpretation of a text, the Pledge of Allegiance, begging us to conform to a standard of justice, ironically abrogated from some people's viewpoint, by the Zimmerman trial itself. Could Zimmerman's painting be a surreal parody of justice? Or does that give too much credit to Zimmerman's scope of understanding? Johns's, White Flag, is painterly and suggestive, compelling us to distance ourselves from its face content and immersing us in a field of color and vague form. White Flag is not a flag; it is a cornucopia of intimated symbols. It is more akin to poetry than to the prosaic art of Zimmerman.
Giorgio Vasari, the 16th century artist and biographer, sought to understand Renaissance art through his biographic treatment of the major artists of his time. Can we tell a bit from Zimmerman's and Jone's artwork how each might have viewed the world? Are the hard-edges of Zimmerman's painting a mirror into a reflexive and jarring violence than seems to be borne out both by his actions and an overly enthusiastic patriotism? Does Jasper John's flag hint at the avant garde and at a hope for an open, complex and welcoming society? Two flags, two radically different messages.