Flags I Ulae 128

Jasper Johns’ Flags I Ulae 128: A Study in Repetition and Reinvention

Flags I Ulae 128 stands as a quintessential example of Jasper Johns’ lifelong fascination with the American flag as both subject and symbol. Unlike his earlier flag paintings—where the stars and stripes were rendered with thick, tactile impasto—this work distills the motif into a flatter, more graphic composition. The piece emerged during Johns’ collaboration with Master Printer Kenneth Tyler at ULAE (Universal Limited Art Editions), a period marked by experimentation in printmaking techniques. Here, the flag’s familiar geometry becomes a vehicle for exploring repetition, layering, and the boundaries between image and object.

The title’s numerical suffix, “128,” hints at the work’s place within a broader series of flag variations. Johns often employed numbering to emphasize process over singularity, treating each iteration as part of an ongoing dialogue. As The Museum of Modern Art observes, his flag works “challenge the distinction between something known (a flag) and something directly experienced (a painting).” In this print, the layered ink and subtle embossing create a surface that invites close inspection, revealing the artist’s hand even within a mechanically reproduced format.

Johns and the Printmaking Revolution at ULAE

By the late 1960s and early 1970s, Jasper Johns had shifted his focus toward printmaking, collaborating with Kenneth Tyler at ULAE to push the boundaries of lithography, intaglio, and screenprinting. This period marked a departure from the dense, encrusted surfaces of his early paintings toward works that embraced the inherent qualities of print media: flatness, precision, and reproducibility. The ULAE workshops became a laboratory for Johns, where he could dissect his recurring motifs—the flag, the target, the map—through serial variations.

Flags I Ulae 128 belongs to this exploratory phase, where Johns treated the flag not as a static symbol but as a malleable form. The work’s title references the studio’s cataloging system, underscoring its place within a larger investigative process. Unlike his 1950s flag paintings, which often incorporated collaged newspaper and wax, this print relies on the interplay of ink densities and plate marks. The result is a flag that feels both immediate and elusive, its layers revealing themselves gradually to the viewer.

What distinguishes Flags I Ulae 128 from Johns’ earlier flag works is its embrace of the print’s inherent qualities: the embossed texture mimics the fabric of a real flag, while the layered inks create a depth that belies the medium’s supposed flatness.

The Making of Flags I Ulae 128

Layering and Embossing

The print’s surface is defined by a complex interplay of lithographic and intaglio techniques. Johns first created a stone lithograph for the flag’s stars and stripes, then overlaid it with an embossed plate to introduce tactile depth. The embossing presses the paper into relief, mimicking the stitching of a fabric flag while simultaneously asserting the work’s status as a print. This duality—between the visual and the haptic—is central to Johns’ practice.

Color and Registration

The piece employs a restrained palette of red, white, and blue, but Johns manipulates the ink transparency to create subtle variations in tone. Misregistration—intentional slight shifts in the alignment of the printing plates—introduces a sense of movement, as if the flag is caught in a breeze. The white stripes, rather than being pristine, carry faint traces of the underlying layers, reinforcing the work’s emphasis on process over perfection.

Displaying Flags I Ulae 128 in Your Space

This print’s 30×40 cm dimensions make it versatile for both intimate and expansive settings. The flag’s bold geometry pairs well with modernist interiors, particularly spaces dominated by neutral tones or industrial materials like concrete and steel. Consider placing it above a minimalist console table in an entryway, where its graphic impact can anchor the room. For a more eclectic approach, juxtapose it with organic textures—a woven jute rug or a live-edge wood shelf—to soften its precision. In a home office, the print’s intellectual rigor complements bookshelves or a sleek desk setup, while its red, white, and blue palette harmonizes with navy accents or warm wood tones. Avoid overly busy walls; let the work command attention as a solitary statement piece.

More Works by Jasper Johns

Explore other iconic prints by Jasper Johns, each showcasing his mastery of symbol and technique.

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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