Installation view of Jasper Johns: Mind/Mirror (Whitney Museum of American Art, New York, September 29, 2021-February 13, 2022). From left to right: Targets, 1966; Diver, 1962-63; Target, 1960; Painting with Two Balls I, 1962; False Start I, 1962; Two Maps II, 1966; Summer Critic, 1966; Numbers, 1967; Voice, 1966-67; Watchman, 1967; Ale Cans, 1967; Target with Four Faces, 1968; Figure 7, 1968. Photograph by Tim Nighswander/Imaging4Art

Installation view of Jasper Johns: Mind/Mirror (Whitney Museum of American Art, New York, September 29, 2021-February 13, 2022). From left to right: Targets, 1966; Target, 1960; Painting with Two Balls I, 1962; False Start I, 1962; Two Maps II, 1966; Summer Critic, 1966; Numbers, 1967; Voice, 1966-67; Watchman, 1967; Ale Cans, 1967; Target with Four Faces, 1968; Figure 7, 1968; Untitled (Ruler), 1968; Bread, 1969; Souvenir, 1970; Painting with Two Balls, 1971; Flags I, 1973; Fool’s House—Black State, 1972; Untitled (Skulls), 1973; Corpse and Mirror, 1976; Ventriloquist, 1986; Cicada, 1979-81; Summer, 1987; Winter, 1987; The Seasons [“pinwheel”], 1990; Untitled, 1988; Ocean, 1996; Untitled, 1999; Bushbaby, 2004; Within, 2007; Untitled, 2010; Untitled, 2018; Untitled, 2012; Untitled, 2020; Untitled, 2021. Photograph by Tim Nighswander/Imaging4Art

Installation view of Jasper Johns: Mind/Mirror (Whitney Museum of American Art, New York, September 29, 2021-February 13, 2022). From left to right: Untitled, 1997; Untitled, 1990; Untitled (Bruno Bettelheim), 1995; Perilous Night, 1990; Untitled, 1982; Untitled, 1983-84; Untitled, 1996; Untitled, 1990; Untitled, 1990; Untitled, 1989; Untitled (Leo Castelli), 1984; The Seasons, 1989-90; Land’s End, 1982; Untitled, 1990; A Souvenir for Andrew Monk, 1987; Untitled, 1987; Untitled, 1991; Untitled, 1996. Photograph by Tim Nighswander/Imaging4Art

Installation view of Jasper Johns: Mind/Mirror (Whitney Museum of American Art, New York, September 29, 2021-February 13, 2022). From left to right: 0-9, 2009-12; 0-9, 2008; Numbers, 2007 (cast 2008). Photograph by Tim Nighswander/Imaging4Art

Installation view of Jasper Johns: Mind/Mirror (Whitney Museum of American Art, New York, September 29, 2021-February 13, 2022). From left to right: Tracing after de Kooning, 2007; The Critic Sees, 1962; Skull, 1971; Hand, 1963; Mirror’s Edge, 1992; Dancers on a Plane, 1979; Painted Bronze, 1960 (case and painted in 1964); Untitled, 2006; Between the Clock and the Bed, 1980. Photograph by Tim Nighswander/Imaging4Art

Installation view of Jasper Johns: Mind/Mirror (Whitney Museum of American Art, New York, September 29, 2021-February 13, 2022). From left to right: Mirror’s Edge, 1992; Painted Bronze, 1960 (case and painted in 1964); Mirror’s Edge 2, 1992. Photograph by Tim Nighswander/Imaging4Art

Installation view of Jasper Johns: Mind/Mirror (Whitney Museum of American Art, New York, September 29, 2021-February 13, 2022). From left to right: Savarin, 1982; Savarin, 1982; Savarin, 1982; Painted Bronze, 1960; Savarin, 1982; Savarin, 1982. Photograph by Tim Nighswander/Imaging4Art

Installation view of Jasper Johns: Mind/Mirror (Whitney Museum of American Art, New York, September 29, 2021-February 13, 2022). From left to right: Savarin, 1982; Savarin, 1982; Savarin, 1982; Painted Bronze, 1960; Savarin, 1982; Savarin, 1982. Photograph by Tim Nighswander/Imaging4Art

Installation view of Jasper Johns: Mind/Mirror (Whitney Museum of American Art, New York, September 29, 2021-February 13, 2022). According to What, 1964. Photograph by Tim Nighswander/Imaging4Art

Installation view of Jasper Johns: Mind/Mirror (Whitney Museum of American Art, New York, September 29, 2021-February 13, 2022). From left to right: According to What, 1964; Arrive/Depart, 1963-64; Field Painting, 1963-64. Photograph by Tim Nighswander/Imaging4Art

Installation view of Jasper Johns: Mind/Mirror (Whitney Museum of American Art, New York, September 29, 2021-February 13, 2022). From left to right: Flags, 1965; Two Maps, 1965; Map, 1965; Moratorium, 1969; Map, 1960; Untitled (Envelope), 1959; Two Flags, 1960; Two Maps I, 1966; Green Flag, 1956; Flag on Orange Field, 1957; Flag, 1957; Flag, 1958; Green map above White, 1966-67; Map, 1965; Map, 1963; Three Flags, 1958; Map, 1961; Flag on Orange Field, 1957. Photograph by Tim Nighswander/Imaging4Art

Installation view of Jasper Johns: Mind/Mirror (Whitney Museum of American Art, New York, September 29, 2021-February 13, 2022). From left to right: Three Flags, 1958; Map, 1961; Flag on Orange Field, 1957; White Flag, 1955; Map, 1962-63; Flags, 1965; Two Maps, 1965. Photograph by Tim Nighswander/Imaging4Art

Installation view of Jasper Johns: Mind/Mirror (Whitney Museum of American Art, New York, September 29, 2021-February 13, 2022). From left to right: Disappearance II, 1961; Untitled, 1960-61; Flag Above White with Collage, 1955; Diver, 1962-63. Photograph by Tim Nighswander/Imaging4Art

Daivd Wojnarowicz, Untitled,1990, stencil printed with spray paint on found paper. Part of the Emily Fisher Landau Collection at the Whitney Museum of American Art. Photo by Tim Nighswander/IMAGING4ART

When noted philanthropist and avid post-war art collector, Emily Fisher Landau, generously gifted more than 400 paintings, sculptures, photographs, and works on paper to The Whitney Museum of American Art, IMAGING4ART was called upon to photograph the extensive collection which includes works by Carl Andre, Matthew Barney, Nayland Blake, Jenny Holzer, Peter Hujar, Jasper Johns, Agnes Martin, Richard Prince, Martin Puryear, James Rosenquist, Susan Rothenberg, Ed Ruscha, Cindy Sherman, Kiki Smith, Alfred Steiglitz, Cy Twombly, and Andy Warhol. To meet a tight deadline, our team collaborated with the staff at The Fisher Landau Center for Art, The Whitney Museum, and The Production Department in order to adhere to a seven consecutive week schedule, working seven days a week. Art handling, un-crating and repacking the works, cataloguing the collection, photography, color correcting the original captures and pulling color matched prints were all completed on-site, on time and within budget. The final images were used in the catalogue which accompanied the exhibition, LEGACY: The Emily Fisher Landau Collection.

Peter Hujar, Susan Sontag, 1975. Photo credit: Tim Nighswander / IMAGING4ART