0 9 Ulae 19 (1963)

Jasper Johns’ 0 9 Ulae 19: A Study in Controlled Spontaneity

Created in 1963, 0 9 Ulae 19 represents a pivotal moment in Jasper Johns’ exploration of printmaking as a medium for abstraction. This lithograph, produced in collaboration with master printer Kenneth Tyler at ULAE (Universal Limited Art Editions), distills Johns’ fascination with numbers, marks, and the interplay between precision and accident. Unlike his earlier flag and target paintings—where symbolism dominated—the work shifts focus to the physical act of mark-making, using the constraints of printmaking to generate unexpected textures and rhythms.

The title itself encodes its origins: “ULAE” references the workshop, while “0 9” suggests a numbering system, possibly a catalog reference or a date shorthand. What emerges is neither purely geometric nor entirely freeform. As MoMA’s retrospective notes, Johns’ 1960s prints often “treat the plate as a field for experimentation,” where ink viscosity, pressure variations, and paper grain become active participants in the composition. Here, the layered strokes and smudges create a tactile surface that rewards close inspection—qualities this framed print preserves with remarkable fidelity.

Johns in 1963: Between Pop and Abstraction

By 1963, Jasper Johns had already dismantled the boundaries between painting and object with his Flag and Target series, but his printmaking practice was entering a new phase. The early 1960s marked his transition from the overt symbolism of Pop-inflected works to a more introspective abstraction. As the Tate Modern observes, this period saw Johns “using printmaking to explore the limits of repetition and variation,” often working in series to exhaust the possibilities of a single motif. 0 9 Ulae 19 exemplifies this shift: it abandons representational imagery entirely, yet retains the systematic approach of his earlier work through its numbered title and methodical layering.

The collaboration with ULAE was particularly generative. Tyler’s workshop provided Johns with technical resources to push lithography beyond traditional limits—using tusche washes, crayon marks, and even direct hand manipulations on the stone. Unlike the mechanical precision of Warhol’s screenprints or Lichtenstein’s Ben-Day dots, Johns’ prints from this era embrace the irregular. The smudges in 0 9 Ulae 19 aren’t mistakes but deliberate traces of process, a theme that would culminate in his later Crosshatch series.

“Johns’ 1963 lithographs reject the ‘finished’ art object. Instead, they offer a record of decisions—where the artist stopped, where the ink bled, where the pressure faltered. 0 9 Ulae 19 is a map of those hesitations.”

The Making of 0 9 Ulae 19: Process as Composition

Layering and Erasure

The lithograph’s surface is built through additive and subtractive methods. Johns began with a tusche wash—a greasy ink applied to the limestone plate—that created the diffuse gray background. Over this, he drew with lithographic crayon, its waxy texture resisting the ink in subsequent printings. The white strokes aren’t absent ink but areas where the crayon repelled the tusche, a negative-space technique that gives the work its ghostly luminosity. The numerical “0 9” in the title may even reference the number of layers or states the plate underwent before the final edition.

Controlled Randomness

What appears spontaneous is often carefully calibrated. The smudges along the lower edge result from Johns pressing the paper into wet ink, while the vertical drips were achieved by tilting the stone mid-printing. Yet these “accidents” are framed by the work’s rigid borders and symmetrical balance. The tension between the organic (the bleeds, the uneven strokes) and the geometric (the rectangular format, the centered composition) mirrors Johns’ broader preoccupation with dualities: presence/absence, intention/chance, image/object.

Styling 0 9 Ulae 19: A Print for Minimalist Spaces

The monochromatic palette and abstract composition make this print remarkably versatile, but its impact depends on thoughtful placement. In a modernist interior, position it above a low-slung credenza or floating shelf, where its 30×40 cm dimensions (12×16 inches) can anchor a vignette without overwhelming the space. The gray-and-white scheme pairs especially well with warm wood tones (think teak or walnut) and matte black accents, creating a dialogue between the print’s organic marks and the precision of mid-century furniture.

For a gallery-wall arrangement, let 0 9 Ulae 19 serve as the focal point, surrounded by smaller black-and-white photographs or line drawings. Its neutral tones allow it to coexist with bolder works, while the framed edge (included) ensures it holds its own. Avoid busy patterns nearby—the print’s subtlety demands breathing room. In a Scandinavian-inspired room, the lithograph’s textural quality complements linen textiles and unglazed ceramics, reinforcing the material honesty both Johns and Nordic design prioritize.

More Works by Jasper Johns

Explore other framed prints from Johns’ career, spanning his iconic flags to later abstract experiments.

Jasper Johns

Flag On Orange Field

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Jasper Johns

White Target

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Jasper Johns

Untitled Ulae S13

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Jasper Johns

Scott Fagan Record

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