December 24, 1932 – July 10, 2014 was a Japanese who lived in SoHo, New York City, from 1965 until his death. He took part in many solo and group Art exhibition, including the Venice Biennale in 1976.
Early life
Kawara was born in Kariya, Japan on December 24, 1932. After graduating from Kariya High School in 1951, Kawara moved to
Tokyo. Kawara went to Mexico in 1959, where his father was the director of an engineering company. He stayed three years, painting, attending art school and exploring the country.
[Roberta Smith (July 15, 2014), On Kawara, Artist Who Found Elegance in Every Day, Dies at 81 New York Times.] From 1962 to 1964 he moved back and forth between New York and Paris.
[Roberta Smith (February 5, 2015), A Life Captivated by the Wonder of Time: The Guggenheim Shows First On Kawara Retrospective New York Times.] He travelled through Europe before settling in 1965 in New York City, where he was an intermittent resident until his death.
[ On Kawara MoMA Collection. Source: Oxford University Press.]
Work
Kawara belonged to a broadly international generation of
that began to emerge in the mid-1960s, stripping art of personal emotion, reducing it to nearly pure information or idea and greatly playing down the art object. Along with
Lawrence Weiner,
Joseph Kosuth,
Hanne Darboven and others, Kawara gave special prominence to language.
Paris-New York Drawings
From 1962 to 1964 Kawara made about 200
Paris-New York Drawings. Their motifs include stripes and grids like those of the Minimalist painter
Agnes Martin.
Other drawings depict installation pieces that fill rooms with networks of string.
Today series
]]
From January 4, 1966,
Kawara made a long series of "
calendar date paintings" (the
Today series), which consist entirely of the date on which the painting was executed in simple white lettering set against a solid background. The date is always documented in the language and grammatical conventions of the country in which the painting is executed (i.e., “26. ÁG. 1995,” from Reykjavík, Iceland, or “13 JUIN 2006,” from
Monte Carlo);
[Karen Rosenberg (February 2, 2012), On Kawara’s ‘Date Painting(s)’ at David Zwirner Gallery New York Times.] Esperanto is used when the first language of a given country does not use the Roman alphabet (“6 AŬG. 1993”, from Tokyo).
[ On Kawara: Date Painting(s) in New York and 136 Other Cities, January 6 – February 11, 2012 David Zwirner Gallery, New York.] The series is an example of
word art.
The paintings, executed in Liquitex on canvas, conform to one of eight standard sizes, ranging from 8x10 inches up to four by six feet,
The dates on the paintings, hand-painted with calculated precision,[Adrian Searle (December 3, 2002), It's a date! The Guardian.] are always centered on the canvas and painted white, whereas the background colors vary; the paintings from the early years tend to have bold colors, and the more recent ones tend to be darker in tone. For example, Kawara briefly used red for several months in 1967 and then returned to darker hues until 1977. Four coats of paint are carefully applied for the ground and each allowed enough time to dry before being rubbed down in preparation for subsequent coats.[ On Kawara, May 1, 1987 (1987) Christie's Post-War and Contemporary Art Evening Sale, 16 May 2007.] Eschewing stencils in favor of hand-drawn characters, Kawara skillfully renders the script, initially a sans-serif, elongated version of Gill Sans, later a quintessentially modernist Futura.[ On Kawara Galerie Micheline Szwajcer, 1987.] Each work is carefully executed by hand. Some days he made more than one.[ On Kawara - Artist Biography Dia Art Foundation.] When Kawara was unable to complete the painting on the day it was started he immediately destroyed it.[ On Kawara: I Read 1966-1995, March 20 - April 17, 1999 David Zwirner Gallery, New York.]
Each Date Painting is registered in a journal and marked on a One Hundred Years Calendar. When Kawara finished a painting, he applied a swatch of the paint mixture he used to a small rectangle that was then glued onto a chart in the journal. Under each colour is a number showing the painting's sequence in that year and a letter indicating its size.[ On Kawara Tate Liverpool, Colour Chart: Reinventing Colour, 1950 to Today, 29 May – 13 September 2009.] The 48 journals[Marc Myers (January 30, 2015), The Guggenheim Show ‘Silence’ Spans Kawara’s Career Wall Street Journal.] in more than 112 cities worldwide in a project that was planned to end only with his death.[ Sculpting Time Sperone Westwater, 25 July 2008.]
Title and postcards
Much like the
Today series, Kawara uses the number of days followed by the date the work was executed as his life-dates. The piece entitled
Title[ Title] at the National Gallery of Art has Kawara's life-dates as 26,697 (January 27, 2006) which, when calculated, place Kawara's birthdate at December 24, 1932. Other series of works include the
I Went and I Met series of
sent to his friends detailing aspects of his life, and a series of telegrams sent to friends and neighbors bearing the message "I AM STILL ALIVE". Between 1968 and 1979, On Kawara created his information series,
I Got Up, in which he sent two picture postcards from his location on that morning. All of the 1,500
cards list the artist's time of getting up, the date, the place of residence and the name and address of the receiver; another series of postcards,
I Got Up At, was rubber-stamped with the time he got up that morning.
[ On Kawara (b. 1932), I Got Up, Sale 8523 Christie's New York, 15 May 2001.] The length of each correspondence ranged from a single card to hundreds sent consecutively over a period of months; the gesture's repetitive nature is counterbalanced by the artist's peripatetic global wanderings and exceedingly irregular hours (in 1973 alone he sent postcards from twenty-eight cities).
[ I GOT UP, 1970 by On Kawara Metropolitan Museum of Art, New York.]
One Million Years
One Million Years is one of the artist's best-known works about the passage and marking of time. It lists each year for the one million-year period leading up to the artwork's conception and the million years that follow it. The work listing the past million years is dedicated to "all of those who have lived and died", and the work for the future million years is dedicated to "the last one". It is sometimes performed, during which pairs of performers (typically one male and one female for each segment) read dates from each list in order, simultaneously performing
One Million Years Past and
One Million Years Future.
The artwork was first made in 1969, the year of the Woodstock music festival, major civil protests against the Vietnam War and man's first landing on the Moon.[ Reading One Million Years, 29 March - 5 April 2004 ] The first audio presentation of the reading of One Million Years occurred in 1993 during Kawara's yearlong solo exhibition “One Thousand Days One Million Years” at Dia Center for the Arts in New York. Visitors could hear One Million Years Future being read, while viewing One Million Years Past and a group of date paintings. In 2002 Oliver Augst and Christoph Korn directed the radio production of the Hessischer Rundfunk of One Million Years (consisting of 32 CDs). The longest public reading from One Million Years took place at documenta 11 in 2002, where male and female participants sat side by side in a glass enclosure taking turns reading dates for the duration of the 100-day exhibition, switching between Past and Future. In 2004, the project traveled to Trafalgar Square in London for a continuous outdoor reading lasting 7 days and 7 nights. Since then, readings and recordings have taken place in cities around the world.
One-hundred-year calendars
For his one-hundred-year calendars, Kawara, starting with the date of his birth, systematically marks each day of his life with a yellow dot on the calendars, and registers a completed date painting with a green dot (red dots signify that more than one painting was completed on that given day).
Pure Consciousness
In
Pure Consciousness, a traveling exhibition initiated in 1998, Kawara lent seven
Date paintings (January 1 to January 7, 1997) to kindergartens and schools in Madagascar, Australia, Bhutan, Côte d'Ivoire, Colombia, Turkey, Japan, Finland, Iceland, Palestine, Canada and the United States. At all schools they hang in classrooms, bearing dates that fall within the lifespans of the children.
[Adrian Searle (3 December 2002), It's a date! The Guardian.]
Exhibitions
Kawara's first exhibitions include the first Nippon Exhibition, at the Tokyo Metropolitan Art Museum, in 1953, and at the Takemiya and Hibiya galleries the following year.
His work was exhibited at New York's Dwan Gallery in 1967, and his one-person exhibition "One Million Years" was shown in Düsseldorf, Paris, and Milan in 1971. Kawara's work was included in
documenta 5 (1972), 7 (1982), and 11 (2002), in Kassel, and in the Tokyo Biennale (1970), the Kyoto Biennale (1976), and the
Venice Biennale (1976).
His work has been included in many conceptual art surveys from the seminal Information show at the Museum of Modern Art, New York in 1970 to Reconsidering the Object of Art: 1965-1975 at the Museum of Contemporary Art, Los Angeles in 1995. Solo exhibitions of his work have included the Otis Art Institute, Los Angeles, and the Centre Pompidou, Paris, in 1977; Continuity/Discontinuity at the Moderna Museet, Stockholm in 1980; Museum Boymans-van Beuningen, Rotterdam in 1991; the Dia Center for the Arts, New York in 1993; and the Dallas Museum of Art.[ Dallas Museum of Art to Present On Kawara: 10 Tableaux and 16,952 Pages, May 18 - August 24, 2008 Dallas Art Museum.]
Kawara's first comprehensive retrospective, "On Kawara—Silence"[ "On Kawara—Silence"] at the Solomon R. Guggenheim Museum, was installed in 12 sections according to a plan devised by himself. Two years before his death, the artist offered the exhibition curator Jeffrey Weiss a list of oblique titles—including “48 Years,” “Self-Observation” and “Monologue”—for each of the sections.
Artist books
Kawara created several artist's books:
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One Million Years, 1999, Editions Micheline Szwajcer & Michèle Didier (2 volumes)
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I MET, 2004, Editions Micheline Szwajcer & Michèle Didier (12 volumes)
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I WENT, 2007, mfc-michèle didier (12 volumes)
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I GOT UP, 2008, mfc-michèle didier (12 volumes)
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Trilogy, 2008, mfc-michèle didier (3x12 volumes)
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I READ, 2017, mfc-michèle didier (6 volumes)
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UNANSWERED QUESTIONS.
[ UNANSWERED QUESTIONS] This book is the documentation of Personal Structures Art Projects #04. Published by European Cultural Centre.
Art market
In 2007, one of Kawara's "Date Paintings" was sold for $1.8 million at Christie's New York.
Another date painting,
May 1, 1987, set an auction record for Kawara when it sold for almost $2 million at Christie's New York in 2014.
[ On Kawara, May 1, 1987 (1987) Christie's New York, 12 May 2014]
Death
Kawara died in New York
on July 10, 2014, at the age of 81.
His published obituaries state that he was alive for 29,771 days
rather than giving dates of birth and death. Kawara's
100 Years Calendar indicates that he was born on December 24, 1932, not on 2 January 1933, as was officially recorded.
[On Kawara - Silence, by Jeffrey Weiss and Anne Wheeler, 2015, The Solomon R. Guggenheim Foundation, New York] This would make the date of his death June 27, 2014.
Influences on contemporary artists
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onKawaraUpdate (v2) (2007) by American art collective MTAA updates and automates (via software) the process-oriented nature of On Kawara's date paintings.
[
]
M. River & T. Whid, 2007
onKawaraUpdate (v2).
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American artist Eric Doeringer has recreated a number of On Kawara's projects,
[Eric Doeringer, 2005-15 [24]
]
including making
Today paintings with his own birthday as part of his
Bootleg series.
[Eric Doeringer, 2005, [25] .]
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"The Disjunction of Time is a slideshow installation by Mexican artist Mario Garcia Torres, that delve into the Montecarlo Hotel in Mexico City, where Kawara stayed for late periods in the 1960s and where the I Got Up series started. The audiovisual work is largely informed by Kawara's ideas.
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From February 6 to May 3, 2015 (concurrent with the exhibition On Kawara - Silence at the Solomon R. Guggenheim Museum) Doeringer recreated Kawara's daily I Got Up, I Met, I Went, and I Read projects and made 30 Today paintings for his Echoes project
[
]
Eric Doeringer, 2015
[26].
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British artist David Michael Clarke reworked On Kawara's Today series as Today Marriages 1969 - 1999 (2001).
[David Michael Clarke, 2001 David Michael Clarke .]
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In Return to Sender (2004), British artist Jonathan Monk co-opts On Kawara's I Got Up At (1968–1979).
[Christy Lange, Tate Etc. issue 4, 2005 Bound to Fail .]
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I am Still Alive is an installation piece after On Kawara by Martin John Callanan.
[Martin John Callanan, 2004 I am Still Alive.]
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Start it is a license to practice On Kawara's individual moments by German artist Stefan Hager.
[Stefan Hager, November 23, 2004 Start it.]
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891 (2006) by Belgian artist Kurt Duyck is a Blog Art tribute to On Kawara's I Got Up At.
[Kurt Duyck, 2006 891.]
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On Kawara is not Dead (2006) by Belgian artist Danny Devos is a blog art tribute to On Kawara's I am Still Alive.
[Danny Devos, 2006 On Kawara is not Dead.]
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The Japanese artist Tatsuo Miyajima's use of numbers is a product of On Kawara's influence on him.
[Aaron Kerner, 2007 The Depth of Memory Part 2: An interview with Katsushige Nakahashi .]
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In his multipart Rwanda Project, executed between 1994 and 2000 in response to the Rwandan genocide, Chilean artist Alfredo Jaar sent Rwandan tourist postcards to his friends around the world, mailed from neighboring Uganda, bearing the names of people whom he'd encountered while travelling in Rwanda, reversing the self-referential content of On Kawara's work I am Still Alive; "Jyamiya Muhawenimawa is still alive!", "Caritas Namazuru is still alive!", "Canisius Nzayisenga is still alive!" etc.
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Rakawa.net is a micro-blogging website, which is devoted to honor On Kawara's work and simultaneously offers users to document and to inform about daily accomplishments, based on the question "What have you achieved today?" and optionally illustrated by a picture.
[Rakawa team, 2008 rakawa.net.]
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In the series QRs for Kawara, Brazilian artist Marcelo de Melo creates a QR code on 10 July of every year stating that On Kawara has been dead for x number of years. It is a direct reference to Kawara's I Am Still Alive telegrams. The codes are made public through the blog themelopedia.
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The NFT (non-fungible token) series date pixels by DEJA DEAD pays homage to On Kawara's Today series by applying the concept of a daily creation showcasing that day's date to a 24x24 pixel canvas, and minting it to the Ethereum blockchain.
[ date pixels
]
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External links
