| | BOOK FORMAT
Clth, 12.75 x 9.75 in. / 264 pgs / 430 color. PUBLISHING STATUS
Pub Date 3/24/2015
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Catalog: SPRING 2015 p. 44 PRODUCT DETAILS
ISBN 9780892075195 TRADE
List Price: $65.00 CDN $87.00 GBP £57.00 AVAILABILITY
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WORLD | EXHIBITION SCHEDULENew York
Solomon R. Guggenheim Museum, 02/06/15-05/03/15 | | THE SPRING 2024 ARTBOOK | D.A.P. CATALOG  | | Preview our Spring 2024 catalog, featuring more than 500 new books on art, photography, design, architecture, film, music and visual culture. |
| | | On Kawara — SilenceEdited by Jeffrey Weiss and Anne Wheeler. Text by Jeffrey Weiss, Daniel Buren, Whitney Davis, Maria Gough, Ben Highmore, Tom McCarthy, Susan Stewart, Anne Wheeler.
 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.
Featured image, "DEC. 29, 1977", Thursday, from Today, 1966–2013, is reproduced from On Kawara — Silence.PRAISE AND REVIEWSThe New York Times Roberta Smith 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. The Guardian Jason Farago 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. |
|  | STATUS: Out of stock Temporarily out of stock pending additional inventory. | |
| | FROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 2/27/2015 In the Guggenheim's definitive catalogue for the current, critically acclaimed On Kawara retrospective, Anne Wheeler writes, "In 1965, following abandoned sculptural experiments in his new studio at 401 East Thirteenth Street in New York, Kawara returned swiftly and definitively to painting. Confronting
the expansive space, the artist began working on a group of monochrome canvases in various sizes that deepened his explorations of language. Some works featured messages coded in systems of Kawara’s own invention: geometric shapes, circles, and rectangles on an implied grid that, according to the artist, no one was ever able to decipher. Others bore simple English words such as ART, MOONSTONE, CIPHER, and UNTITLED, or epigrammatic phrases like GO HOME AND CRY ON YOUR PILLOW.
Kawara ultimately destroyed most of these paintings." Featured image, of these untitled paintings in the artist's studio, 1965, is reproduced from On Kawara - Silence. continue to blog | |  | Dia Art FoundationISBN: 9780944521939
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|  | Guggenheim Museum PublicationsISBN: 9780892075195
USD $65.00 | CAN $87 UK £ 57Pub Date: 3/24/2015
Active | Out of stock
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