On Kawara SilenceOn Kawara
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On Kawara SilenceOn Kawara
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Because of his recourse to language, photography and systems of information, On Kawara is often described as a key figure in the history of Conceptual art. Yet his work stands apart in its devotion to painting and its existential reach. On Kawara ― Silence is published in conjunction with a major exhibition of Kawara's post-1964 work at the Solomon R. Guggenheim Museum, New York. Like the exhibition itself, the structure of the book was devised in close collaboration with the late artist. The exhibition catalogue contains essays on Kawara's work by leading scholars and critics in various fields, including art history, literary studies and cultural anthropology. It also includes substantial, authoritative descriptions of every category of his production―the first time such comprehensive information has appeared in print. Richly illustrated, On Kawara ― Silence reproduces many examples of the Date Paintings (Today), calendars (One Hundred Years and One Million Years), postcards (I Got Up), telegrams (I Am Still Alive), news cuttings (I Read), maps (I Went) and lists (I Met) that comprised the artist's practice beginning in the mid-1960s. Among other groups of works, the book includes images of the 97 Date Paintings (accompanied by their newspaper-lined storage boxes) that Kawara produced during a three-month run of daily painting in 1970. The catalogue also contains reproductions of paintings and drawings produced in Paris and New York in the years that precede the works for which Kawara is best known, as well as rare images of materials related to his working process. The volume is published in four differently colored covers. Text by Jeffrey Weiss, Daniel Buren, Whitney Davis, Maria Gough, Ben Highmore, Tom McCarthy, Susan Stewart and Anne Wheeler.On Kawara was born in Japan in 1933. During the 1950s he was a prominent member of the postwar Tokyo avant-garde, producing figurative work in a late-Surrealist style. Kawara left Japan in 1959, traveling to Mexico City, Paris and New York, where he settled in 1964. By 1966 he had devoted his work solely to the schematic representation of time and place through calendars, maps, lists, postcards and telegrams. Kawara's primary body of work, which occupied him until his death in 2014, is the Today series, a sequence of paintings produced according to strict protocols of size, color and technique. An incessant traveler, the artist produced Date Paintings in 136 cities and various languages.
On Kawara SilenceOn Kawara- Amazon Sales Rank: #834300 in Books
- Brand: Kawara, on (ART)/ Weiss, Jeffrey/ Buren, Daniel/ Davis, Whitney
- Published on: 2015-03-24
- Original language: English
- Number of items: 1
- Dimensions: 9.90" h x 1.60" w x 13.00" l, .0 pounds
- Binding: Hardcover
- 264 pages
Review On Kawara: Silence, a quietly rapturous exhibition that opens this weekend at the Solomon R Guggenheim Museum in New York, showcases the career of an artist who used minimal means for maximum effect. The artist died last year while preparing this show - instantly transforming his sequential paintings from an open-ended feat to a closed structure - and I had expected, when the show was announced, that Kawara’s insistently spare art would feel funereal in the Guggenheim’s grand spiral. I was wrong; it is a joy. Like each of his date paintings, the exhibition is somehow awesome and modest at once. It reckons with the grandest questions of being and time, and yet feels lived in, comfortable, and winningly unpretentious. It brings cosmic time down to human scale, and then makes an individual life feel as broad as the universe. (Jason Farago The Guardian)Like a true Conceptualist, Mr. Kawara stuck to the facts and also transcended them, endowing them with a resonant appeal and a sense of form as fine-tuned as any Minimalist sculptor’s. His art helped shape Conceptualism’s love of uninflected information. It fused the movement’s basic duality of image plus text into an instantly legible unit before it actually existed. It also bridged the gap between the modernist monochrome as devotional object and the Duchampian ready-made. (Roberta Smith The New York Times)
About the Author Daniel Buren was born in 1938 in Paris.Daniel Buren was born in 1938 in Paris.Whitney Davis is John Evans Professor of Art History and Director of the Alice Berline Kaplan Center for the Humanities at Northwestern University. He is the author of, most recently, Pacing the World: Construction in the Sculpture of David Rabinowitch (1996), Drawing the Dream: Homosexuality, Interpretation, and Freud's "Wolf Man" (1995), and Masking the Blow: The Scene of Representation in Late Prehistoric Egyptian Art (1992).
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Most helpful customer reviews
2 of 2 people found the following review helpful. If you enjoy (or want to better understand) the work on On ... By katy This catalog takes a very thorough look look at the work of On Kawara with incredible writings by admirable scholars and critics. The text by Daniel Buren takes an especially lucid look at the conceptual art in general. If you enjoy (or want to better understand) the work on On Kawara, or conceptual art in general, this is is an important book and a great case study.
1 of 1 people found the following review helpful. Keepsake of a great show By Tim Midyett Mindblowing Guggenheim exhibit--this can't compare, but it reminds me that I saw the thing in real life and makes me happy I was able to do so.
0 of 1 people found the following review helpful. Five Stars By Amazon Customer Molt bo
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