On Kawara

DIA Beacon, a former Nabisco box factory on the Hudson River

I argued the merits of conceptual art in a dinner table discussion recently by bringing in the name of an artist I admire. He was not known to my dinner partners and probably not to many people around the world. Let me present: On Kawara.









I first saw On Kawara's paintings in the DIA Beacon museum in Beacon, NY. There I saw a room lined with his date paintings. I was immediately engaged - at the time I was exploring a Time theme in my graduate studies. I was looking for artists who dealt with Time in their work, and here was one in quite a literal way.

Each painting was a date painted in white paint on a color background. But the dates were all written differently - some were written with the day of the month first, then the month. Some had the names of the months in foreign languages, and some were what I was familiar with: english language with the month written first.

they weren't always the same size, color, or type

An explanation of the series, called the Today series, was available on the wall and it explained a lot. First of all, each painting was completed by hand in the space of one day - the day of the painted date. Each one used the language and date form of the country it was painted in (On Kawara was a frequent traveler).


On Kawara did these paintings over many years beginning in January 1966 and ending in the year of his death, 2014.

Along with the painting he made a custom cardboard box to house the painting. It had a newspaper's front page from the day and country of the painting pasted inside the cover. Sometimes this box is displayed with the date painting.

postcards from the I Got Up series

In between date paintings, On Kawara was doing other work. For example, the Self-Observation series which consisted of I Got Up, I Went and I Met. The first involved sending two postcards per day on which were written: "I got up." He did this for twelve years

I Went were photocopied maps of his day's travels.

I Met was a typed list of the people he met each day.

As you can see, On Kawara's life was quite literally his art.










Calendar projects dealt with time in a very literal way. One of the calendar projects was One Million Years, a book in two volumes: One Million Years (past) and One Million Years (future). These consisted of lists of dates and were read at exhibits by two people reading aloud.

He sent many, many telegrams that read simply "i am still alive," and his signature.










Pure Consciousness was a selection of date paintings that were sent to elementary schools around the world and hung in classrooms for a period of time. The paintings selected all had dates from the children's own lifetimes.

Yes, he could draw, he could make objects, and was a skilled artist in many ways. He chose to create art of a more conceptual type. It is both cerebral and spiritual. It is about being conscious during each day, each moment of our lives. His is the kind of art that extends beyond visual art into performance, the written word, philosophy, and spirituality

On Kawara's life, according to his published obituary, was 29,771 days. I somehow feel that these days were lived more fully aware than many of us more unconscious souls, myself certainly included. He was, he is an artist, I believe, in the very essence of his being. He is timeless - now.

Towering Achievement

The post title is grandiose, but at 30" unfired, my tower is not small. In fact, it won't fit in the kiln as it stands. I made it in 5 sections. Three that are tight fitting I'll fire together, the other two can sit alone on the kiln shelves.





I wanted to make it taller, and maybe bigger ones are in my future. I am considering this my first of a series, that is if I have the stamina to continue. It was time consuming to build. I used the coil method with red majolica clay. My first two attempts to make a base were scrapped. I tried to make them too big too fast and they bowled out too much. I then got a process going where all five sections were worked on at once. While one was firming up, I worked on another section.

















Flanges are built into the tops of each section to keep it securely together without permanently bonding them.



After the basic units were constructed and pierced with openings, I began the additions. Old wooden printing blocks were used to make the decorative elements on the three middles sections. I knew I wanted people heads, but the heads of bugs and birds were ideas that came after building. I knew I wanted pointed forms and birds beaks fit the bill (but no bills here, only beaks).














The bugs heads, which will have wire antennae affixed after firing, were added for balance, if not beauty. The top crown-like form is meant to be an organic-looking creation, something Mother Nature might wear on special occasions.







Black engobe was brushed on, wiped off, burnished in places and scratched into. I have fears about what will come out of the kiln. Hence, the early post before firing, while it still looks good and stands tall. Meanwhile, it dries as thoroughly as ever can be.

Irish Potters

Adrian and sculpture head

Our Potters Council group on tour in Ireland met a number of local ceramics artists.

First, our hard working host at the Kinsale Pottery and Art Center, Adrian Wistreich. He organized the many potters who shared their expertise with us in workshops or in presentations. Adrien himself often uses paper clay. He has a well stocked gallery of his own work above the studios.

This wildly flamboyant paper clay basket is a good example Adrian's work.

He also makes these tiny salt and pepper cellars with wisp-like spoons that he boxes and sells - his "bread and butter" ware.

One evening, Kathleen Standen came to the art center to speak. The work she brought to show us was a large, chunky, abstract sculpture. She is inspired by the manmade and marine forms she sees in the ports of Ireland and England - buoys and shipping gear, crusted and worn by salt and waves.

Kathleen has written an excellent book, all about working with clay additives to create unusual textures and forms.

That same afternoon we met Jim Turner, a man with a long and illustrious career in pottery. We heard his story from the beginning, as a child of a traditional Irish Potter, to the building of his first kiln, and through the years as he developed his ideas.

A bowl by Jim Turner

There was too much to tell in one sitting. He has done amazing work, and led a fascinating life. Jim's work has gone through many phases, exploring myriad forms, techniques and themes. Pictured here are just two examples: a bowl and a towering sculpture.

Zengdi, Jim Turner's hand built sculpture at Mill Cove House sculpture garden

Sarah Roberts leading our workshop

Adrian introduced us to Sarah Roberts, the porcelain clay sculptor of delicately colored reliefs inspired by the sea coast of Ireland. See my earlier post on the workshop with Sarah.

Julian Smith with one of his raku fired female torsos

Julian Smith also shared his expertise in a workshop at the Kinsale studios. We spent a day watching him fire up pieces in his homemade raku kilns, also described in an earlier post.

We met the retired, or so he claims, potter Cormac Boydell in our Bantry hotel where he brought his newer work to show and also joined us for dinner. I was lucky to sit next to him and get to know more about him, including that ice cream and jelly is a favorite dessert of his since childhood.














But perhaps more important to know, Cormac trained as a geologist, and this background has influenced his work in formulating glazes. Each piece is precisely documented, and often fired many times to achieve the desired glaze effect.

He showed us thick wall platters that he forms entirely by hand - no tools. The edges are glazed with a gleaming golden lustre, but look rough and ragged. Incised and painted on the surface are images. The two pictured here are inspired by the familiar old china Willow pattern.

Far out on the beautiful Beara Peninsula, you will find the Mill Cove Gallery, featuring work by Irish potters.

Gallery director John Goode welcomed us, graciously opening the gallery especially for us on one of its closed days.


















John Goode has published two books, pictured here. Mostly illustrations, with artist statements and bios, it contains an impressive number of talented artists working in clay, considering the size of Ireland and its small population.

We scrutinized a multi-roomed gallery building filled with ceramics and paintings, and four acres of gardens where clay sculptures were displayed on the landscaped hillside. A view of the ocean from the front of the house was breathtaking.

Onlookers, Sandra McGowen

Here are a few examples of sculptures in the gallery and garden, all clay except for Ayley Lalor's which is cement.

Ayley Lalor

Eleanor Swan

Julian Smith

 Tara Butler-Frey

This was the first Potter's Council trip to Ireland. I think for all who came and journeyed through the lovely and historically fascinating country, and took part in all the ceramic workshops and experiences, it was worthwhile. For many reasons, I can say confidently for myself, that I will remember this trip - forever!

Wheel and Hand Building Workshops in Cork

Darren Cassidy and Robert Lee gave our potters group instruction in hand building (Darren) and wheel throwing (Robert) for one beautiful spring day in West Cork. Robert Lee restored his early 19th century house and turned the cow barn into a pottery studio. Everything was pristine, newly painted, and designed obviously with great care. The views from the studio were far over fields and hills.

Studio

One end of the house with young Miss Lee

Divided into groups to work with the two instructors, I first went into one room with Darren to learn his methods of decoration on two circular tiles of stoneware clay. We followed step by step instructions using tools such as dead ball point pen cartridges (both ends), screw drill bits, sawed off plastic ice cream sundae cups, and much more, both traditional clay tools and ones he has adopted for his use.

After he revealed he was once a graphic designer, it was clear why the tools and supplies were so meticulously assembled for our use. We were blown away by the preparations he had made for our benefit.

We worked without break by our own choice to complete the two tiles to his specs. All the while, we enjoyed his continuous support and friendliness, so that it was great fun despite the frantic pace.

Here is Darren, standing over us and urging us on to greatness. In my eagerness to be efficient, I grabbed my neighbor's tile by mistake and was peppering the center flower with dimples before he could stop me. "Thank you," was his mild admonishment.

Below are some of Darren's slip cast stoneware heads. The slip cast piece is given individual details such as ears, antlers, clothing. After bisque firing he uses underglazes, usually black with only touches of color, to add further detail making each piece unique. 

Darren's heads, and on the right the sample of the large round tile we made in the workshop

Robert Lee

After an abundant lunch made by Robert's partner and her mother, my group went to the wheel room to watch a demonstration of wheel throwing a la Robert Lee.




















Here are some of his nesting bowls. They are porcelain and clear glazed. He taps them gently as they turn on the wheel with a wooden tool, made by a local woodworker, to get their particular look. They are made in three sizes then, after firing, Robert groups them to find the trio that fits together best.

Inside the wheel room

If I could post the video I made (I'm working on it), you would see his process and listen as he exhibits an Irish gift of gab with a distinctive Cork accent. My favorite new pronunciation of kiln - "kill-in."













He preceded the demonstration by saying he would not talk, but was he able? 

A wonderful spirit, he was so full of life and enthusiasm, it was wonderful to watch and listen to him. He made some plates that we squirted shellac onto and wiped for a raised relief effect. These and our tiles made with Darren will be shipped to us, as our potters trip, sadly, is nearly over. 

Sarah Roberts & Julian Smith Workshops

In a remote part of Co. Cork, Ireland, down an abruptly curving and narrow lane with steep, shadowy banks lush with ferns, big leaved forest plants and overhanging trees, we found Sarah Roberts' studio. 

Our van full of potters were there to glaze our porcelain clay reliefs. The air was clear and fresh; the animals, dogs, puppies, cats greeted us in a friendly manner and Sarah was very welcoming too. She offered us all coffee and homemade granola bars. 

The house and environs were all very old stone buildings. Clematis, roses, and many other plants grew in profusion in glorious chaos over the ruins.

We all barely fit within the whitewashed old stone walls, with floors a helter shelter of different levels and steps. But there was a large low table and stools, and we all found spots to stand or sit.

Sarah showed us her large multi pieced seascape mounted on etched glass.Though she had previously shown us slides of this and other work, it was a different experience to see the actual, dimensional work. Other work was on the walls such as this vertical piece, about a foot tall, or more.

And other smaller works.

We used her glazes, the ones she herself uses on her porcelain seascapes. There were copper oxides and rutile and jars of Mayco underglazes. The others in the group finished glazing and hiked the rocky lane to the top of the cliffs overlooking the ocean. I however was slow, and was one of the last to finish, and regrettably, could not share that experience. We'll see these pieces later after Sarah fires them for us.

The day before we had spent the day learning about raku firing with Julian Smith. First off, he showed us some raku fired pots he had made.

Then we went outside to fire. He had two homemade kilns: one a metal can and lid and one a mesh box, both lined with fiber insulation. A propane tank fueled both, one alternating being fired with the other. Another box with plywood lid was lined with sawdust and newspaper.

When the kiln reached temperature, Julian removed the clay pieces with large tongs from the kiln, plopped them in the prepared box and set the lid on the now flaming contents to smother them. That is when the raku effect takes place, as the ware is smoked and deprived of oxygen, in "reduction."

After a bit, more sawdust was thrown on top and closed up again.

Julian had little bisqued fish and bugs for us to glaze and then fire for ourselves. Only a half dozen or so were fired at a time, so most of the day was spent outside, standing or sitting around the hissing and smoking heat of the kiln set up.

The heat was good - Ireland is a cool country, even in summer, but my face was rather sunburned at the end is it.

Here are my fired pieces:

Julian fired pieces of his own including a female torso, one backside, one front, a mask and some pots, one of which I bought directly from him for 20 euros. It was a long day of patient waiting, but now I have a better idea about how to raku fire, learned from an expert.