On Kawara’s Guggenheim Museum exhibit “Silence” closes May 3, 2015.
Today might “only” and always be October 31, 1978
As I stood marveling at this On Kawara painting at the Art Institute of Chicago over the holiday, a young boy and his mother approached the piece. The boy turned quickly to her and said, “it’s only a day,” and I was reminded of an NPR interview with art critic Jerry Saltz that I recently heard. Saltz said in regard to Jackson Pollock’s work, “I just think those paintings put off more energy than went into making them, and that’s one of the definitions of art.” A work that emits more energy than went into making it. I think that’s a wonderful description of what I experienced with the On Kawara painting.
Here is the Wikipedia description of On Kawara’s “Today Series” of date paintings:
Since January 4, 1966, [Kawara] has made a long series of “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 Reykjavik, Iceland, or “13 JUIN 2006,” from Monte Carlo); Esperanto is used when the first language of a given country does not use the Roman alphabet). The paintings, executed in liquitex [acrylic paint] on canvas, conform to one of eight standard sizes, ranging from 8×10 inches to 61×89 inches, all horizontal in orientation. The dates on the paintings, hand-painted with calculated precision, 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. 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. Each work is carefully executed by hand. Some days he makes more than one. If Kawara is unable to complete the painting on the day it was started he immediately destroys it. When a Date Painting is not exhibited, it is placed in a cardboard box custom-made for the painting, which is lined with a clipping from a local newspaper from the city in which the artist made the painting. Although the boxes are part of the work, they are rarely exhibited. Each year between 63 and 241 paintings are made.
Each Date Painting is registered in a journal and marked on a One Hundred Years Calendar. When Kawara finishes a painting, he applies a swatch of the paint mixture he used to a small rectangle that is 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. The journal therefore records the details of the painting’s size, color and newspaper headline, while the calendar uses colored dots to indicate the days in which a painting was made, and to record the number of days since the artist’s birth. Kawara has now created date paintings in more than 112 cities worldwide in a project that is planned to end only with his death.
See also:
Happy New Year!
Dec.17,1979 by On Kawara
“Monday, Dec. 17, 1979,” On Kawara (Japanese, born 1933), 1979. Synthetic polymer paint on canvas, 18 1/4 x 24 3/8″ (46.2 x 61.7 cm). Blanchette Hooker Rockefeller Fund. © 2012 On Kawara 62.1981. Collection of The Museum of Modern Art, NYC.
Dear John: Postcards from On Kawara to John Baldessari
I Got Up At…, 1974–75: On Kawara’s works, particularly those associated with early Conceptual art, are exemplary of an oeuvre that is at once personal and universal. The confessional autobiographical quality of I Got Up At…, a series of postcards providing diurnal accounts of his rising times that he sent to his artist friend John Baldessari over the course of three months, document Kawara’s existence in time while also allowing that which is typically immaterial to assume material form. Source: The Museum of Contemporary Art, Los Angeles
Image credit: On Kawara (b. 1933, Kariya, Aichi Prefecture, Japan; lives and works in New York), I Got Up At…, 1974–75. Ninety postcards with printed rubber stamps, 3 1/2 x 4 in. each and 4 x 6 in. each. The Museum of Contemporary Art, Los Angeles. Gift of John Baldessari and Denise Spampinato.
Showers Late, High: 58° Low: 52°
We are the same, but different.
Things are the same, but different.
The days are the same, but different.
~On Kawara
Oct. 31, 1978 is one of more than two thousand “date paintings” that On Kawara has produced since 1966. Though they vary in size, each work shares a similar format—the specific date, which is painted without the use of stencils in white, occupies a central location on the monochromatic canvas and is the painting’s sole image. Utilizing the language of the country where he painted the canvas, Kawara either completes each work on the day emblazoned on its surface or destroys it. While usually not exhibited, a newspaper accompanies every work to document the date and location of its execution. Deceptively simple, Oct. 31, 1978, like all of Kawara’s date paintings, both records and celebrates the simple fact that the artist, and his creative energies, existed at this point in time.
~Source: The Art Institute of Chicago
Image credit: On Kawara, American, born Japan 1933: Oct. 31, 1978 (Today Series, “Tuesday”), 1978. Acrylic on canvas and newspaper, 155 x 226 cm (61 x 89 in.). Twentieth-Century Purchase Fund, 1980.2a-b. © On Kawara. Courtesy David Zwirner, New York.