On Kawara, a Japanese conceptual artist living in New York City, made since 1966 a long series of “date paintings” (the Today series), which consist entirely of the date on which the painting was executed in white lettering set against a solid background. Other series of works include the “I Went and I Met” series of postcards sent to his friends detailing aspects of his life. A second series of postcards, I Got Up At, rubber-stamped with the time he got up that morning, and a series of telegrams sent to various people bearing the message “I am still alive”.

In 1971 he started with his work called ‘A Million Years’. This ten volume piece was produced concurrently with a series which would later be seen as his defining work. ‘A Million Years’ was, just as its title states, a series of numbers counting back the last million years from 1969. It was later  accompanied by ‘One Million Years (future)’ which counts forwards from 1980. In 1993 Kawara transformed One Million Years (Future) from a written to recorded state. The impetus for this metamorphosis was an exhibition for Dia Center for the Arts that ran from January 1, 1993, to December 31 of the same year. The below video made by New York art tours gives an impression of ‘One Million Years”

The exhibition was comprised of three parts, a selection of one thousand Today paintings, the ten volumes of One Million Years (Past) and the recording of One million Years (Future), in which a male and female voice continuously, year after year, count into the future. A segment of this recording was transformed into a CD. With the exhibition the viewer plays a more passive role, entering into the space where the recording plays continuously, whereas with the CD the amount of time is limited, 74 minutes, and contains a set number of years (1994 AD to 2613 AD), thus transforming the infinite time of the exhibition into the finite time of the CD. With the CD the viewer is able to manipulate the duration and chronology of the CD, thus entering into a far more active relation to the work. You can listen to a part of the work in the below Ubuweb podcast.

Photos: On Kawara | David Zwirner Gallery | Sources: Ubuweb, Wikipedia | Video: New York Art Tours Youtube channel

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In his conceptual installations and sculptures Michael Johansson puts the qualities from daily life objects in opposition to their field of application. By repetition, displacement of scale, and new function, he questions the receivers interpretations of the unique. The objects are frozen in their new shape - while the function is displayed, the functionality is taken away.

Michael Johansson about his work: “I am fascinated by flea markets. Walking around to find doubles of seemingly unique, though often useless, objects I have already purchased at another flea market, is not only an inquisitive activity for me but part of my working process. Despite the fact that I did not have any use for most of these objects in the first place, the unlikeliness of discovering them twice in two different places makes the desire for their possession irresistible. The unique and the unknown origin of the object increases my wish to own its double. The rules compelling me in selecting things at flea markets are also central to my art practice. Engaging directly with these objects, manipulating them, juxtaposing them against each other or representing them in a new context is my method of work. Through out my different explorations of the potentials of my collection of found and acquired things, one has been to free objects from their function. By forcing these objects into contexts in which their functional qualities are put into opposition with their field of application, the objects are stripped of their meaning for existence. In a series of work I have assembled objects connected to a certain place, for example a kitchen or a living room, into a cubic geometrical unit. The collected items, originally gathered from hundreds of different homes, are precisely stacked into the empty spaces of other larger items, a process that repeats itself until all the objects are carefully packed into one single tight sculptural form. This transformation addresses questions about history, life and space. The sculptures hold stories of compressed worlds from a time gone by, and the function has been forced to give in for the notions of color and shape.”

Photos Michael Johansson | Conceptual art and installations

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Warmenhoven & Venderbos invite you to discover the Spring Summer 2010 Collection.

“Some conceptual keywords and key-phrases for the collection are: Imprints of skin , imprints of garments , imprints of sizes. Distortion of or between translation results in distortion between the layers. Meaning and shape are redefined. Shape follows individual body and mind.”

• Find the W&V  S/S 10 collection here on the website.

WARMENHOVEN & VENDERBOS | Website: collection S/S 10

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I will not make any more boring Art is an early piece of conceptual text art by John Baldessari but it still has not lost its impact nowadays. It demonstrate his thinking at the time and his developing interest in Conceptual art.

In 1971, Baldessari was commissioned by the Nova Scotia College of Art and Design in Canada to create an original, on-site work. Unable to make the journey himself, he suggested that the students voluntarily write the phrase “I will not make any more boring art” on the gallery walls. Baldessari committed his own version of the piece on videotape. Like an errant schoolboy, he dutifully writes, “I will not make any more boring art” over and over again in a notebook for the duration of the tape. In an ironic disjunction of form and content, Baldessari’s methodical, repetitive exercise deliberately contradicts the point of the lesson to refrain from creating boring art.

I will not make any more boring Art is typical of Baldessari’s work, for not only does it contain humor, but it is also a strategy, a set of conditions, a directive, a paradoxical statement, and a commentary on the art world with which it is involved. Like all his work to date, it addresses, on many complex levels, issues about art, language, games and the world at large.

Photos and video John Baldessari | Sources: Electronic Arts Intermix | MoMA collection | Ubuweb

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Robert Rauschenberg  Portrait of Iris Clert

Robert Rauschenberg’s contribution to the exhibition at the Gallery Iris Clert in 1961. In this exhibition the artist where to create portraits of the owner Iris Clert.   Rauschenberg’s work for this exhibition was a telegram sent to the gallery, reading: This is a portrait of Iris Clert if I say so.

Photos: Robert Rauschenberg | Portrait of Iris Clert

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Richard Long, a conceptual artist, studied art at the West of England College from 1962 to 1965 and graduated from St Martins’s School of Art in 1968, London.

Long’s work comes from his love of nature and through the experience of making solitary walks. Long never makes significant alterations to the landscapes he passes through. Instead he marks the ground or adjusts the natural features of a place by constructing sculptures from rocks or similar found materials or by leaving simple traces. like for example a line or circle made by walking. These conceptual landmarks are then documented by photo, text and maps. His work explores relationships between time, distance, geography, measurement and movement.

Dusty boots line | The Sahara 1988

Walking a circle in mist | Scotland 1986

Although he works in the landscape most of the time he also exhibits his work in galleries and museau. These “indoor” pieces consists out of sculptures made with naturial materials, Text art and photographs.

A rock line | Himalaya 1975

At this moment, 3 June - 6 September 2009, a major retrospective exhibition called Heaven and Earth is held at the Tate Gallery Britain in London. It Features over 80 works including sculptures, large-scale mud wall works, and new photographic and text works documenting walks around the world. 

Photos by Richard Long | Video by Time out London

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