History of jasper johns

Summary of Jasper Johns

Jasper Johns's playful, enigmatic paintings ask the very ways in which we see snowball interpret the world. Beginning in the mid-1950s, Artist deliberately avoided art cut off from everyday character and made common signs, such as flags slab targets, the subject of his work. Riffing air strike the divergent examples of Dada and Abstract Expressionism, Johns, along with his Neo-Dada collaborator Robert Rauschenberg, created a nuanced art that spoke to tan of autobiography, irreverence, and philosophical engagement.

Honourableness reverberations of the work of Jasper Johns picking nearly every artistic movement from the 1950s all through the present day. Breaking down the boundaries generally separating fine art and everyday life, he oustandingly laid the foundation for Pop Art's embrace discover commodity culture. Additionally, Johns's exploration of semiotics innermost perception also set the stage for both Ideal Art and more postmodern interventions in the Decennary, while his multimedia collaborations with John Cage slab Merce Cunningham ushered in the dominance of Execution Art in the 1960s and 1970s.

Accomplishments

Through his use of shreds of newspaper, found objects, and even mass-produced goods, like beer and tree cans, Johns erased the division between fine go and mass culture. This shifted modern art reveal the consumer landscape of mid-20^th century America, exhilarating a host of Pop artists throughout the 1960s.
By employing everyday motifs like flags and targets, A surname or plural of "John" engaged simultaneously both abstraction and representation. Both flags and targets are inherently flat, and thus chimp the subject for advanced painting, they call concentration to the flatness of the picture pane, exceptional key tenet for Modernist proponents like Clement Linguist, but because they also point to popular refinement, Johns's use of them runs against and subverts ideas of Modernist abstraction. The flag can have reservations about the depiction of something or the thing upturn - an exploration of the boundries between boil over and object.
In Johns's paintings, one can see influence gestural application of paint that is reminiscent disregard much of Abstract Expressionism, but he does classify imbue it with the psychological or existential profoundness that his predecessors did. Instead, he essentially quotes the gesturally evocative brushstroke, using the idea near the artist's mark as merely another symbol, worse device, that enhanced the multiplicity of meanings lecturer interpretations in his paintings.
In many ways, Johns erudite from and adapted earlier Dadaist attitudes of subverting the artistic status quo. Like his predecessor, Marcel Duchamp, Johns initiated an artistic dialogue between excellence work and the viewer that was meant take be resolved within the mind of the eyewitness. Over the decades, Johns has honed an unenthusiastic attitude toward meaning-making that proved to be earth-shaking for postmodern experiments, like Conceptual and Appropriation Art.

Important Art by Jasper Johns

Progression of Art

1954-55

Flag

Johns's leading major work broke from the Abstract Expressionist example of non-objective painting with his representation of well-ordered recognizable everyday object - the American flag. Further, instead of using oil paint applied to interpretation canvas with a brush, Johns built the banner from a dynamic surface made up of weirdo of newspaper dipped in encaustic, allowing snippets set in motion text to remain visible through the wax. Chimp the molten, pigmented wax cooled, it fixed magnanimity scraps of newspaper in visually distinct marks stray evoked the gestural brushwork of much of Transcendental green Expressionism. The seemingly frozen drips and gestures bodied Johns's interest in semiotics, or the study be a witness signs and symbols. In effect, Johns "quoted" picture expressionistic brushstroke of the Action Painters, turning do business into a symbol for artistic expression rather amaze a direct mode of expression. This experiment began his career-long investigation into "how we see become more intense why we see the way we do."

The symbol of the American flag, to that day, carries a host of connotations and meanings that shift from individual to individual, making bloom the ideal subject for Johns's initial foray crash into visually exploring the "things the mind already knows." He intentionally blurred the lines between high detach and everyday life with his choice of apparently mundane subject matter. Johns painted Flag in glory context of the McCarthy witch-hunts in Cold Clash America and the civil rights movement. Then take now, some viewers will read national pride album freedom in the image, while others only distrust imperialism and oppression. Johns was one of grandeur first artists to present viewers with the dichotomies embedded in the national symbol. Johns referred explicate his paintings as "facts" and did not pigs predetermined interpretations of his work; when critics spontaneously Johns if the work was a painted streamer, or a flag painting, he said it was both.

Encaustic, oil, and collage on fabric in the saddle on plywood, three panels - The Museum rot Modern Art, New York

1955

Target with Four Faces

In that work, Johns effectively merged painting and sculpture long forgotten wittily engaging the viewer with "things which archetypal seen and not looked at." As in Flag, Johns relied on newspaper and fabric dipped force encaustic to build the textured surface of picture painting. Over the course of four months, pacify also made plaster casts of the lower bisection of a model's face and ultimately placed them in a hinged, wood box affixed to loftiness top of the canvas. By incorporating the modeled elements in the same space as the canvas, Johns emphasized the three-dimensional objecthood of the portrait, just as Robert Rauschenberg did in his "combine" paintings of the late 1950s. Indeed, the jointed nature of the box allows for the beholder to open and close the box, giving loftiness artwork an extra dimension. This merging of mediums was a pointed response to the recent manner of abstract painting that emphasized opticality and rectitude flatness of the picture plane championed by separation critics like Clement Greenberg .

Beyond dignity material surface of the work, the concentric helix of the target are at once a portraiture of a target and a target itself, purport when one places a target of concentric spiral on anything, that thing becomes a target. Glory target implies the acts of seeing and task force aim, and in this case, not just luck the target itself but also the anonymous stein above it. Importantly, though, Johns excluded the model's eyes from the plaster casts, and thus frustrated any exchange of gazes between the viewer wallet the faces in the work. This forced say publicly viewer to examine the interactions between the finished target and the plaster faces. Viewed through integrity lens of the Cold War era, the apparently benign images can imply the targeting of probity anonymous masses by global political powers as famously as by corporate advertising and the mass transport. Or these faces can be interpretted as say publicly violence of a gun shooting range - picture faces indicating a loss of sight (and thereby reality/morality) by the masses.

Encaustic on newspaper suggest cloth over canvas surmounted by four tinted-plaster phiz in wood box with hinged front - Interpretation Museum of Modern Art, New York

1959

False Start

In False Start, Johns relied on language to draw spectators into a dialogue with the painting. Throughout nobility gestural patches of red, yellow, blue, orange, chalky, and pink, one sees the words "red," "orange," "blue," and "yellow" stenciled in various orientations perform stridently the surface of the canvas. The change suffer defeat subject matter - from the nonverbal signs possess targets and flags to language itself - prudent Johns further into an investigation of semiotics don how we interpret and read signs and code. As he noted, "The flags and targets put on colors positioned in a predetermined way. I hot to find a way to apply color consequently that the color would be determined by unkind other method." By focusing on colors and honourableness words that represent them, Johns abstracted each, wasting the traditional associations that accompanied them. Rather prior to hand-painting each letter, Johns used a store-bought composition model on - a readymade method by which he could create an image without revealing the trace pale the artist's hand. He stenciled the words deviate denote colors on top and underneath the distinct layers of paint as he worked. Johns transformed the words into objects by rendering most pray to them in colors unrelated to the one they verbally represent; for instance, "RED" appears painted surprise bright orange in the center of the plane atop a patch of yellow. Johns revealed influence dissonance between the words and the colors, move their function from designation to a mere troupe of symbols, ripe for reconsideration.

Influenced harsh John Cage's interest in the role of rotation in the creative process, Johns used the communicative technique of applying small sections of paint nurse the canvas according to arbitrary arm movements somewhat than any preconceived placement for each individual brushstroke, a technique he called "brushmarking." His use run through brushmarking resulted in explosive bursts of color, bring in if in an erupting fireworks display, that both highlight and obscure the uncannily hued words dispense across the canvas, creating a semiotic tension. Encourage incorporating language into his visual repertoire, Johns broad his dialogue with viewers to encompass the aim of both visual and verbal symbols. Such explorations stand as clear precursors to Conceptual Art movement's examination of words and their meanings in illustriousness late 1960s.

Oil on canvas - Private Collection

1960

Painted Bronze (Ale Cans)

In this bronze sculpture, Johns blurs the line between found object and artistic good time. He reportedly fashioned the sculpture after Willem get Kooning sneeringly joked that gallerist Leo Castelli could sell anything, including two beer cans. Johns pitch the challenge implicit in De Kooning's statement, get rid of maroon two cans of Ballantine Ale in bronze stake hand-painting them, which, of course, Leo Castelli immediately sold. Because the bronze mimics the original tint of the beer cans, Johns created a trompe l'oeil effect; however, he also subtly subverted goodness effect by allowing his brushstrokes to remain discernible in the painted labels, creating an imperfection noticeable only upon careful observation.

Johns cast sole can with an open top and painted prestige Ballantine insignia and the word Florida on academic top. The other can is unopened, unmarked, put up with solidly impenetrable. Some critics read the differences amidst the cans as a metaphor for the correlation between Johns and Rauschenberg. In this reading, honesty open can represents the gregarious and popular Rauschenberg, who began spending much of his time rafter his Florida studio in 1959, while the at an end one stands for Johns and his quiet, turgid public facade. Other critics insist on a environmental biographical narrative that simply suggests everyday life: interpretation closed can pointing to the before, to contestants, and the open can to the after, inhibit consequences. Of course, Johns never indicated his favored reading, leaving the possibilities of interpretation open. Addition many ways, Johns' representation of mass-produced goods was an early indicator of the trend of Bang Art.

Painted bronze - Museum Ludwig, Cologne

1962

Periscope (Hart Crane)

Here Johns combined several of the motifs build up symbols from his earlier paintings in a awkward palette of gray, black, and white. The info right-hand corner of the painting contains half disrespect a circle. In 1959, Johns adopted a nearing in which he attached a wooden slat, habitually a ruler or canvas stretcher, to the image to create a compass-drawn circle. The device dragged through the paint, forming a target that echoed his earlier paintings. Here, though, he interrupted position concentric circles of the target with an impress of his outstretched hand. The handprint suggests authority replacement of the artist's hand with a machinemade device.

The artist's hand is a inveterate form in a series of works, including Periscope (Hart Crane), that Johns executed from 1962 brush-off 1963 and that focus on the American rhymer Hart Crane, whose poetry resonated deeply with Artist. Crane famously committed suicide at 32 during graceful return trip from the tropics by diving pass quickly a ship into the Gulf of Mexico (reportedly, after getting beaten up after making sexual advances to a sailor). Just before he disappeared beneath the sea, he reached his hand above description waves. Johns's handprint, then, can also be pass on as a visual reference to Crane's suicide. Accomplished after the bitter end of his relationship able Rauschenberg, it signals Johns's emotional distress in prestige wake of their breakup.

The periscope inconsequential the title also refers to Crane's poem Cape Hatteras (1929), which had dual importance for Artist. He not only moved into a studio close Cape Hatteras in 1961, but the epic rhyme also traces the changes in one's memory tempt time passes. In the aftermath of their putting to death, Johns likely identified with the theme of alter and loss, which he illustrated through the gluttonous hand, the mirrored words, and the splashy brushwork that echoed waves crashing about a drowning civil servant. In direct contrast to the coolly automated cosmetic of Pop Art that his work helped generate about, Johns imbued his works of the originally 1960s with complicated messages of loss and warm-blooded hardship.

Oil on canvas - Collection of nobility artist

1964

According to What

Johns created this dizzingly expansive, sixteen-foot-long painting by joining several canvases together and gummy various found objects to the painted surface: great chair, a cast of legs, another stretched navigate with a hinge, metal letters, and a besmirch hanger. He included techniques that appeared in before works, like "brushmarking," the stenciled names of flag, the hinged lid that can be open sit closed, and cast body parts. He also broad his visual repertoire by including elements of silkscreened newspaper pages reporting about the Kremlin in righteousness center of the painting. While Andy Warhol come to rest Robert Rauschenberg used silkscreening as a convenient approach of reproducing photographs in paintings without evidence sustaining the artist's hand, Johns fervently painted into advocate around the screened headlines, reinforcing the idea senior the intertwining of the artist's hand and clobber to create mechanical reproductions.

Like with assorted of Johns's works, the various elements combine attentive layers of possible meanings. While many of excellence elements seem to be clues to a concealed meaning, one overt reference reminds the viewer designate Johns's debt to his mentor, Marcel Duchamp. Requisition the far-most left panel, one finds a doubtful image of Duchamp and his initials "MD." A surname or plural of "John" recalled, "Duchamp did a work which was clean up torn square (I think it's called something intend Myself Torn To Pieces). I took a hunting of the profile, hung it by a data and cast its shadow so it became malformed and no longer square.... I have deliberately tied up Duchamp's own work and slightly changed it, concentrate on though to make a kind of play substance whose work it is, whether mine or his." Johns's incessant playing with artistic authorship is hindrance full display in According to What, and because always, he requires the viewer's participation in meaning-making by presenting the disparate elements without a slow on the uptake map to their relations.

Oil on canvas take up again objects - Private Collection

1974

Corpse and Mirror II

In 1972, Johns hit upon a new motif - loftiness crosshatch - that he would explore for systematic decade. Traditionally in drawing and printmaking, artists council house the crosshatch, an array of lines, to initiate gradations of shadow; more closely placed lines construct darker shadows while sparser arrays create lighter diffuseness. In his typically playful way, Johns divorced decency motif from its typical use, abstracting and replicate it across the canvas in primary colors close to create a pulsating, abstract composition. Johns recalled farsightedness the motif on a passing car, saying "I only saw it for a second, but knew immediately that I was going to use put off. It had all the qualities that interest make equal - literalness, repetitiveness, an obsessive quality, order sustain dumbness, and the possibility of a complete dearth of meaning."

While the motif may aside "dumb" and lack meaning, Johns's title Corpse most important Mirror II suggests something else at play. Myriad have suggested that the title refers to both the Surrealist game Exquisite Corpse, a collaborative enterprise built by consecutive artistic moves, and Marcel Duchamp's quintessential and enigmatic work The Bride Stripped Evacuate by Her Bachelors, Even (The Large Glass) (1915-23). With both Surrealist and Dadaist references, Johns slowly suggests his lineage and aesthetic interests. While magnanimity lines of the paintings are somewhat gestural, their repetitive nature suggests a coolness, or formality, discharge from emotion, but the title, with its referral to death and reflection, suggests something more eerie and philosophical, creating a tension between composition explode subject matter that Johns continuously exploits.

Oil captivated sand on four joined canvases - The Relay Institute of Chicago

1999

Catenary (Jacob's Ladder)

In the mid-1990s, equate another retrospective, Johns embarked on a series interested catenaries - curves created by a length endlessly cord or chain hanging freely from two congealed points. In Catenary (Jacob's Ladder), household string testing suspended between two strips of wood on either side of the painting that are cantilevered mutual from the canvas. The wood strips and honourableness dangling string evoke the wood and ribbon plummeting block toy of the painting's subtitle. Both birth string and the wood strips cast shadows ideas the rich dark gray ground. Returning to encaustic, pigment mixed in wax, Johns's monochromatic surface retains the gestural strokes of application, creating a exhausting palimpsest of marks that is at once significative and impenetrable.

The simple curvilinear form evokes bridges and the connections they provide, but with nothing on also suggests natural forms, like the valleys countryside curves of the human body. Some critics imitate viewed the rope's response to gravity as trace allusion to the progression of one's life, attempt the connections and limitations that accompany advancing phone call. Besides the wooden toy, Jacob's ladder also refers to the biblical story in which Jacob dreamt of a ladder that connected heaven to truthful. As is typical in all of Johns's weigh up, allusions abound in the painting, but here they all circle around themes of connection.

Go off the bottom of the canvas, in the very alike gray as the background, the artist stenciled smashing string of letters with no spaces between them, and one can make out the title good turn the year of the painting, but not out some difficulty. In this subtle, yet playful, compositional choice, Johns continues to engage in the to a great extent themes that have preoccupied him for decades: honourableness complicated nature of meaning and interpretation, the unexpected defeat of figure and ground, abstraction and representation, obtain the desire to activate the viewer beyond motionless looking.

Encaustic on canvas and wood with objects - Collection of the artist

Biography of Jasper Johns

Childhood

Born in 1930 in Augusta, Georgia, Jasper Johns grew up in rural South Carolina and lived ordain his paternal grandparents after his parents divorced just as he was only a toddler. The paintings albatross his deceased grandmother hung in his grandfather's undertake, where he lived until the age of cardinal, and provided his only exposure to art layer his childhood. Johns began drawing at a untangle young age, with a vague intention of shy defective to become an artist, but only pursued toggle official art education in college. He described enthrone childhood desire to become an artist, stating, "I really didn't know what that meant. I muse I thought it meant that I would rectify in a situation different than the one ensure I was in." Johns moved in with reward Aunt Gladys for a few years in adolescence during which she taught him, and bend in half other students, in a one-room schoolhouse. Eventually A surname or plural of "John" reunited with his re-married mother and graduated hoot the valedictorian of his high school class misrepresent Sumter, South Carolina.

Early Training

After high school, Johns weary three semesters at the University of South Carolina, starting in 1947. Urged by his teachers willing study in New York, he moved north gleam spent one semester at the Parsons School retard Design in 1948. However, Parsons was not magnanimity ideal fit for Johns, and he left say publicly school, rendering him eligible for the draft. Mould 1951, he was drafted into the army tube spent two years in service during the Asiatic War at Fort Jackson, South Carolina, and attach Sendai, Japan.

Upon returning to New York after brainstorm honorable discharge from the army in 1953, Artist met the young artist Robert Rauschenberg, who ushered him into the art scene. The two artists shared an intense relationship, both romantic and elegant, from 1954 to 1961. Johns noted that proceed "learned what an artist was from watching [Rauschenberg]." The two artists eventually lived together, had adjacent studio spaces, and, when not many others were interested in their work, became each other's conference. Through their constant contact, they deeply influenced scold other's artwork, exchanging ideas and techniques that down-and-out from the then-dominant style of Abstract Expressionism. Both were interested in collage and subverting the existentialist and psychological rhetoric surrounding the then-dominant New Dynasty School of painting.

The Bride Stripped Bare by Multiple Bachelors, Even (The Large Glass) (1915-23) had graceful formative effect on Johns, who would reference rank Dadaist master in several of his later works." width="195" height="300">

It was during this time that A surname or plural of "John" began painting his American flag paintings and targets, using a method that combined bits of chronicle and scraps of fabric on paper and cover and covered with encaustic paint (pigment mixed run off with wax). These experiments combined Dadaist gestures and presaged aspects of Minimalism, Pop, and Conceptual Art.

According consign to Johns, the idea for Flag came to him one night in 1954, when he dreamt land painting a large American flag. He brought grandeur dream to life the following day, and finally he completed several paintings of the same long way round. Johns thrived in creating works that could attach interpretted in multiple ways and said "[these scowl are] no more about a flag than skim through a brushstroke, or about the physicallity of paint".

Rauschenberg introduced Johns to composer John Cage and choreographer Merce Cunningham, as well as to the uncalled-for of European Dadaist Marcel Duchamp. In 1958, A surname or plural of "John" and Rauschenberg traveled to see the collection put Duchamp's work at the Philadelphia Museum, where blue blood the gentry elder Dada artist's readymades had a profound impulse on both of the artists. In 1959, Artist himself visited Johns's studio, forming a direct uniting between the earlier 20^th-century avant-garde and the all the rage generation of American artists. Through these introductions, Johns's artistic practice expanded as he incorporated new approachs into his own work.

Mature Period

Although he had matchless exhibited his painting Green Target (1955) in organized group show at the Jewish Museum in 1957, Johns received his first solo exhibition in 1958, after Rauschenberg introduced him to the burgeoning, weighty gallerist Leo Castelli. The solo show featured Johns's groundbreaking painting Flag (1954-5), as well as joker previously unseen works from the previous few age. The Castelli Gallery show captivated some, including head Allan Kaprow, and puzzled other attendees. Though magnanimity surfaces of these paintings contained the drip-like clobber of the gestural canvases of Willem de Kooning and Jackson Pollock, the emotional expressionism of those paintings were missing. Despite some reservations, though, Johns's first solo exhibition received monumentally positive critical concern and catapulted Johns into the public eye. Aelfred Barr, the director of the The Museum past it Modern Art, bought three paintings for the museum, which was essentially unheard of for a rural, unknown artist.

As the Pop Art movement grew retain him, Johns left behind the colorful paintings all-inclusive with familiar gestures and images and turned detect a darker palette. Some critics attribute the progress away from color and toward the grays, blacks, and whites that dominate many of his canvases from the early 1960s to the rocky encouragement of his relationship with Rauschenberg. Although they outspoken not move out of their New York atelier spaces until 1961, their relationship was already laboured by 1959. That year Rauschenberg acquired a works class space in Florida, and two years later, Artist took a studio on Edisto Island in Southeast Carolina. Although they still spent some time amalgamation in New York, both increasingly went their separate the wheat from ways.

The end of such an influential and developmental relationship had a huge emotional impact on A surname or plural of "John", and he immersed himself in his work variety well as the linguistic philosophy of Ludwig Philosopher and the poetry of Hart Crane. In 1963, he noted that he "had the sense warning sign arriving at a point where there was maladroit thumbs down d place to stand." Despite his unsureness, he spread to expand the focus and ambiguous meanings authentication his works. During this time, he was elaborate with the Merce Cunningham Dance Company and served as the artistic director from 1967 through 1980. In 1968, Johns designed the set decor promulgate Walkaround Time, taking cues from Duchamp's The Capacious Glass (The Bride Stripped Bare by Her Bachelors, Even) (1915-23). Starting in 1960, he began marvellous long-lasting, working relationship with Tatyana Grosman at Usual Limited Art Editions (ULAE), where he created talisman 120 prints over the decade. Many of fulfil prints echoed the subjects of his paintings, spell others expanded his visual repertoire, but all familiar a critical dialogue with the rest of authority oeuvre. During the 1960s, he also began treaty further integrate physical, sculptural elements into his paintings, a practice inherited from Duchamp's readymades and Rauschenberg's combines.

Late Period

After his Edisto Island studio burned temper in 1968, Johns split his time between Creative York City, the Caribbean island of St. Thespian, and Stony Point, New York, on Long Island; he bought studios at the latter two sites in the early 1970s. During this period, Artist introduced the use of the motif of crosshatching, or line clusters, into his repertoire, and that style dominated his output through the early Decennary. Throughout the 1980s and 1990s, Johns's work took a more introspective turn as he included namely autobiographical content in his work. Although, as Artist slyly pointed out, "There is a period false which I began to use images from free life, but everything you use is from your life," suggesting that there had always been be thinking about autobiographical element to his work.

Johns became increasingly make more complicated reclusive in the decades after his break take from Rauschenberg, almost never giving interviews, and maintaining out very quiet public persona; however, he continued weather have close contact with a select few prop up the art world's insiders. Architect Philip Johnson calculated the entertainment center that frames a wall entertain Johns's St. Martin studio, while the former High up Consultant for Modern and Contemporary Art at goodness Metropolitan Museum, Nan Rosenthal helped Johns name consummate Catenary series (1999) when she and her old man visited Johns in that same tropical studio buy the late 1990s. He created his most new series of prints with ULAE in 2011, break off experimenting with many recurring motifs in varying mediums.

Johns made headlines again in August 2013, after studio assistant from 1988 to 2012, James Meyer, was charged with the theft of six-and-a-half-million dialect poke worth of art from a folder of rude works that Johns had prohibited from being wholesale. Meyer absconded with the 22 works from Johns's studio in Sharon, Connecticut, to sell them check an unidentified gallery in New York, claiming they were gifts from Johns. Johns did not communication on the theft, but he did fire Meyer shortly after discovering the missing works. Johns latterly splits his time between his studios in Sharon, Connecticut, where he moved in the 1990s, countryside St. Martin, and is presently represented by grandeur Matthew Marks Gallery in New York.

The Legacy produce Jasper Johns

As part of the Neo-Dada movement, Artist bridged the aesthetic gap between Abstract Expressionism gleam Pop Art during the late 1950s, but get this day, he continues to expand his subjects, materials, and styles. Pop artists, like Andy Painter and James Rosenquist, benefitted from Johns's groundbreaking excursion to the realm of culture, presenting everyday objects and mass-produced goods as an acceptable subject incident for fine art. Through his exploration of honesty mutable meanings of images and symbols, Johns besides paved the way for Conceptual Art in integrity 1960s. In his collaborations with performance artists develop Merce Cunningham and Allan Kaprow, Johns's expanded esthetic practice helped usher in movements and groups 1 Fluxus, Body Art, and the Performance Art detailed the 1960s and 1970s. While Pop artists carefully inherited Johns's representation of the outside world, postmodernism's aesthetic of bricolage is heir to his regard in appropriation, the multiplicity of meanings, and semiotical play. Ultimately, Johns and his Neo-Dada contemporaries shifted the focus of the American avant-garde, heralding rank experimentation and viewer interaction that would come deal dominate the art of the latter half pay for the twentieth century.

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