0
Mitsuko Aikawa: Time in art: Giuseppe Penone and On
Kawara
Critical Research Essay for BA(Hons) Degree 2013
Fine Art: Painting
Wimbledon College of Art 1
Acknowledgements
It is a great pleasure to thank everyone who helped me write my dissertation successfully. The theme of time is too broad to write, my tutor Rachel Withers inspired and helpfully guided my direction and what I should concern and not to be ambiguity or extended. I would like to show my gratitude to her.
I would also like to thank to library study support tutor, Nicola Rae, who suggested artists who relate to time as my theme and always helped me to organize the essay: also English teacher Steffie Hill who always supported me to structure my essay and marshal my ideas and gave me lots of advice on English phrasing, grammar as well as academic writing skills since my first year. I can say that I can write this essay in English as the result of her help for three years. I would like to express my thanks to my classmate Kristen Franclemont Butler, who helped me to draw out and clarify my ideas and my friend Dr. Kagari Shibazaki, who instructed my way and pointed out my issues in this essay and then proofread the whole of my dissertation.
2
Contents
Acknowledgements 1
Contents 2
1. Introduction 3
2. Time: in relation to Conceptual art and Arte Povera 4
3. Dose artwork have to be last for a long time? 7
4. Artists’ representation of time: works by Kawara and Penone 11
5. Are expressions of infinity the most appropriate way for time to be represented? 21
6. Conclusion 23
Bibliography 26
3
1. Introduction
In 2011 the reports of OPERA(The Oscillation Project with Emulsion-tRacking Apparatus) experiment of neutrinos travelling faster than light was announced, then CERN (Europeen pour la Recherche Nucleaire) declared the experiment error in 2012(Jha, website, 2012). If the experiment was correct, it might affect our aspect of time and could change our society in several decades going on. Even the result was faulty, scientists inexhaustibly bring ambition to explore and investigate universal truth in nature and it takes time. The feature of pursuer is a kinship with artists. Leonard Shlain explains that a pop artist Roy Lichtenstein declared, "Organized perception is what art is all about in the 1960s and Sir Isaac Newton might have said as much for physics” and proposes that the visionary artist to see the world in a new way and a revolutionary physicist discovers a new way to think about the world (Shlain, 2006). In 1960s, many art movements emerged such Minimalism, and Concept art like Pop Art in US and Arte Povera in Italy. Artists seemed to have keen new definition which superseded the conventional one (Lee. 2004, p.271）and the new technologies could enable this.
My research interest is in these artists perception of time, and their expression of time compared with physicists’ idea about time: because physics is a fundamental natural science and is the study of matter, energy and interaction through space and time. The purpose of this dissertation is to examine time in art in relation to three questions: is it important for materials in a work of art to last for a long period of time? How is time expressed in a work of art? Is time infinite or not in the works of art by two artists: On Kawara, a conceptual artist, and Giuseppe Penone, an Arte Povera artist. My research involves visiting and viewing exhibitions and galleries, to consider how time has been treated and expressed by these artists: particularly in relation with three issues relating to time, and methodology as contraposition to physics with Stephen Hawking’s A Briefer History of Time, 2005. This paper includes definitions time, a literature review, an examination of two artists in relation to three questions with reference to Hawking’s idea, and finally my suggestion to the artists in the conclusion.
4
2. Time: in relation to Conceptual art and Arte Povera
Time is a basic idea to understand human activity. Anelie Pohlen argues that time constitutes the primary and essential structure of human life and is "a intangible measure for the totality of the indices determining being; it is the content of consciousness; it exists beyond human comprehension."( Cooke, L., 2003) The
Oxford English Dictionary defines time as the indefinite continuous durations and all events has taken place, are taking place, and will take place (Hololford-Strevens, 2005, p.x). A physicist, Stephen Hawking explains that the length of time between events, and the distance in short length is measured in time but the very long distance like planets or stars are measured in the light year which is distance itself, in other words distance indicate the length in space(Hawking, 2005, p.25). Hence time and space are the same unit of dimension. Although this idea of space and time as same unit might be insubstantial to create work of art in reality, we should be aware of that time and space are inseparable and not be concerned about them separately. So this paper defines that time is indefinite continuous duration, rather than a defined period of time, because human activity is a continuous event.
In 1960s-70s, one of significant trends was that artists more concern about concept of their work of art and have influenced the contemporary art today. Examining
Conceptual art with LeWitt’ Kosuth’ and Land artist Smithson’s ideas about time and
Arte Povera, how and what idea about time they generate would be clarified
LeWitt defines the idea or concept in Conceptual art is the most important aspect of the work (LeWitt, 2003, p.846). He thinks that the artist is a generator of idea and the idea itself could be the work of art which is not necessary to be produced by artist by 5 himself, and he also appreciated the ephemeral character and impermanence
(LeWitt,2003, p.847-8).
Kosuth puts the importance on art as a kind of logic (Kosuth,2003, p.853). He attempts to analyse the connection between philosophy’s ‘ending’ and art’s ‘beginning’ as well as the term ‘Conceptual art’. Kosuth argues that “art’s unique character sharing similarities with logic, mathematics and science, is the capacity to remain aloof from philosophical judgements when traditional philosophy is unreal because of its assumptions(Kosuth,2003, p.860).
Later Smith defines that Conceptual, or Idea, or Information Art is broad and diverse range of activities to emphasis on idea and use appropriate object (Smith, 1981, p.256). So the resulting works are photographs, films, documents, performances though expressing with the artist’s own body or language itself and the actual exhibition. They also became to concern their viewers, because of sharing artists’ idea and mind with the ephemeral and the obdurate reality. Thus work of art demands from the audience a new kind of attention and mental participation (Smith, 1981, p.256).
Michael Fried, a critic, criticizes that works of art by Conceptual artist are similar to actors playing in a theatre, because artist concerns with the object in the actual circumstances and the beholder to encounter the work of art there(Fried, 2003, p.838).
If there is no audience, the theatre losses and its meaning of existence. Hence, Fried advocates that “a work of art should be autonomous” and accents that “pictorial unity must be instantaneously apprehensible at a single glance” (McClain, 1985, p.46).
Against this, Robert Morris, a conceptual artist, claims that “the beholder makes aware to establish relationship with the object by seeing from various positions, so that they 6 realize the endlessness and inexhaustibility (Fried, 1998, p.166)”.
Fried’s claim, for me, is likely to have a limitation that he could not expand his recognition range along with progressing society. Because Fried did not follow the progress of new materials, distribution media and information media. He did not have insight to the future directions. Today most of artists express their works in unlimited mediums, show their work of art on website and intend to interact with their audience.
Smithson, a Land artist, wrote about time thought that critics exploit artist’s temporal process, which is artists’ mind and matter, because of the convenience to treat or focus on the art object; every work of art is charged with the rush of time, but that depends on the audience (Flam, 1996, p.112). Concerning how artists relate to time,
Smithson explained artist attitude; being enslaved by time, controlled by things or other people not by themselves, becoming oblivion by sinking time or forgetting time to conceal the “death principle”(ibid). Contrasted with Conceptual Art mainly activated in
United State, how artists thought and worked in the 1960s in Europe.
An art movement called Arte Povera which was coined by Germano Celant emerged in Italy. It means ‘poor’ or impoverished’ art in the literal and refers to use the commonplace material to make work of art (Godfery, 1998, p.177). In addition, artists as a social function see themselves to revolute culture against sclerotic social structures, the economic system and art establishment (Walther, 2005, p.556). Its distinguishing features are an anti-technological stance, a programmatic elision of photographic practise and peculiar relationship to materials and processes of production (Foster et al, 2011, p.553).
7
The similarity of Arte Povera to Conceptual Art is a new faith to enable to make their works of art freely. In contrast, the differences are that Arte Povera seeks a relation between Nature and culture, caused by a backlash toward the rapid industrialization, poetical expression in objects, materials and processes .The cause of their difference, in my opinion, came from the length of layers of time; US has only 200 years, but Italy has more than 2500 years and they had medieval prosperity in art. They have seen actually cultural heritage in their everyday lives, as well as taking over the spiritual part of culture, both of heritage and the spiritual part of time. This made them develop their idea in a different way from the US. In Italy, artists always see the example of the
Baroque, with its promiscuous intermingling of forms and materials in front of artists, that caused promiscuous intermingling of forms and materials (Lucie-Smith, 2001, p.168). The complex, heterogeneous quality was also noted by Celant (Lucie-Smith,
2001, p.168).
LeWitt and Kosuth claim that Conceptual art, as an idea, takes precedenceover traditional aesthetics and material of works of art: they also critique themselves. Arte
Povera’s relationship to materials and the processes of production is likely to similar to
Conceptual art.
3. Dose artwork have to be last for a long time?
After Duchamp’s new thought of art: Fountain(1917) to question on the function of art, artists became to focus on their concept rather than their materials. As we have seen in previous, in particular, since the late 1960s, the context of works of art has been 8 more focused (Kosuth, 2003, p.855). Works of art were created in several ways using a wide range of materials. Developments of technology and different materials have made it possible to create a wide range of work of art. Thus, materials are somewhat more emphasized than before. My personal experience to have a feeling of going back to 17th century by time machine when I got hold and flipped pages of the second oldest scientific journal; The Philosophical Transactions of the Royal Society published from 1655, which has been still major journal in physics today, made me realize and certain that knowledge has been passing down in a continuum and actual materials, in other words old paper, is so different from just knowledge. However, the viability of work of art is affected by the materials to last in a long period of time too. Because material is a main factor for deterioration and allow the viewer to see the work of art directory in future. Some artists recognise materials should last in a long period of time, some do not concern it. Henceforth, Giuseppe Penone thinks that materials of work of art should last. So, time’s affection on the materials to last long will be discussed by examining the works of art by Penone.
Penone has been working with nature. In terms of his concept of materials, he perceives that it is important to show the rigidness of the subjects of his art work to audiences. The work usually lasts longer and any kind of work of art is set up in a distinct space in a very specific location, where audiences are required time to go into the artwork’s space and to get physical closer it in order to understand a work of art
(Penone, website, 2009). Concerning the material’s certain ‘quality’, Penone claims that a photograph of a work is just an image on a piece of paper but raw materials inherent certain ‘quality’ themselves (Penone, website, 2009). In addition, Rawson expressed a similar ideas and stated that ‘artists intends their work as stable and permanent as possible-with few exceptions ... the works become a continuing present 9 for other people to visit and read (Rawson, 2005, p.47)’. I follow their idea about materials: the great factor of art to long and to interplay to audience. Materials are very important that viewers can directly see and feel the atmosphere in the place as well as its physical scale, colour, special feature of distinctive materials. Moreover, the direct viewing of work of art completely differs from just seeing photography of print medium or in website and the instinct character of materials could also produce an energy.
Viewing “Spazio di Luce (Space of Light)” in Penone’s exhibitions at Whitechapel
Gallery, London in 2012, From my personal experiences, I recognized that viewers seemed to feel the big scale and find the hardness of its materials. They could peep into the hollow of the tree trunk from both side and walk through the several narrow spaces between the parts of transacted sculpture at the gallery space. This sculpture is the twelve metre bronze cast of a tree situated on the floor across the gallery, and may evoke the feeling to audience as if they were walking and breathing air which was full of fresh aroma of wood in the open air, and image that climbed on it and walk on like being a child. According to the gallery’s introduction, the gold of hollow induces the ancient times as the result of spend time to coexist with the sculpture and its interior is lined with gold-leaf which the artist interprets as the sun's light (Space of Light)’ (The
Bloomberg Commission, 2012). However, the inner gold did not reflect on so much of light in the taper bright gallery. If this new sculpture was set in different environment, it would be more effective to have natural light which differs on time, or gets sunshine and reflects it, such as Holt’s Sun Tunnels (2006). Therefore, only I could see was
‘time’ as I peeped through the bigger hollow of the end of the sculpture.
Touching is one of essential concept for Penone, because a tactile understanding of reality can be more precise to understand of what surrounds us rather than a 10 perception through eye is a convention being translated an experience(De Zegher,
2004, p.29). He demonstrates this tactile understand as the material’s character in
“Idee di pietre” exhibited in dOCUMENTA(13) located at the Karlsaue Park in Kassel in
2012. The viewers directly touch the surface of it and feel its physicality and look up the tree that may unconsciously express our respect for tree and its existence in longer time.
On the contrary, visiting the exhibition place is not always easy: for example, accessing overseas venues or the limitation of the exhibition period. Moreover, in our information society, virtual museums and digital archives have been popular for preserving and showing old masterpieces. Artists also show their works on websites and create directories of digital arts. Nonetheless, this is not a matter of which kind of materials are used. Visiting a specific place to see a work of art is not an essential factor for a viewer to understand it.
However, many people actually enjoy visiting museums, galleries and specific palace where they view works of art and these give them a lot of opportunities to understand them by directly viewing, such as colour, atmosphere, energy and so on, because it is difficult to experience with the virtual museums. Furthermore, many organisation including governments and official foundations are keen on supporting the work of art in museums and galleys to have tried to protect their art work as cultural properties.
This demonstrates how important real art works are. Therefore, it might be concluded that the materials to last in a long period of time are important.
11
4. Artists’ representation of time: works by Kawara and Penone
Time is so strange and to affects our lives in different ways. Artists are affected by time, and their works of art differ when and where they fortunately or unfortunately exist.
From ancient times, for example in ancient Egypt, people depicted time on relief and in religious painting in the Middle Ages, because it is the most important element of human life to intimately relate to human activity, like life and death, production of crops.
In relation to the depiction of time, one of the methods in Japanese scroll painting called ijidoji-ho interests me, because the method to depict passing time shows successive events in a single picture. It is very unique and useful as a compositional method to illustrate time. Whereas my works of art do not depict time in such a way, they rather represent the subject itself to include time, like a tree, or a layer of pigment.
So, the expressions of the works of art by Kawara and Penone are examined.
On Kawara
Kawara is characterized by his meditative approach to concepts of time, space and consciousness (David Zwirner, 2012). Kawara’s doubting everything began at his age of thirteen years old just after the World War II ended. This was perhaps natural for the susceptible teenager because Japan drastically changed into a democratic country from the previous garrison state accompanied with concepts of value, morals as well as political, social structure. This led him to an ‘awakening of consciousness’ (Watkins,
2002, p.50). The experiences of living in Mexico for four years and then encountering the cave picture in Altamira in Spain gave strong cultural shock and ‘a special impact’ toward time. The delay of train in a day, not in minute, in Mexico opened his eyes the 12 relativity of time and the idea of the perception of time, which was going to make “Date
Painting’s” essential concern focus on temporality (Watkins, 2002, p.53). Furthermore,
Altamira’s pre-historical theme provoked his concern to stretch beyond history and language which means the cave painting was without a concept of art, instead a direct appeal over a vast expanse of time (Watkins, 2002, p.55). It is easy to image that he produced One million Years as an inevitable result.
Before Kawara established the dominant theme, the Today series, he painted Title in
1965.
Figure 1
It rooted his experience of doubting everything in boyhood and associated with Avant
Garde Art Association to oppose the government’s several anti-democratic policies in his twenties. Kawara stated that the notion of humanity had been threatened by matter
(Watkins, 2002, p.50). Hence, this work is strong message of grievance/protestation against the Americans bombing on Vietnam. The artist’s intension might pursue his expression to catholicize/universalize as a formula like natural phenomenon to be expressed as a formula in physics. As Kawara executed not one work but the triptych as ‘One Thing’, ‘1965’ and ‘Vie-nam’ in white on reddish orange background in each 13 canvas, each work of art probably represents anything, anytime and anywhere. There can be no limitation of a particular happening, time and place so that I illustrate his assertion in a formula like physics.
O=t⒩p⒩ O=One Thing, t=time, p=place,⒩= multiplier
or
O= ∫tp ∫=integration O=One Thing, t=time, p=place
As a formula is generally a universal truth.
Kawara started Today series on 4 January in 1966. He meticulously paints the date with the typeface in white on the monochrome background on the day or destroying it if not finished.
Figure 2, 3
JAN. 4, 1966, 1966, from Today series, 1966-. On Kawara Date Painting(s) in New York and 136 Other Cities January 6 -
February 11, 2012.
“Kawara identifies himself with ‘primordial’ image makers (Watkins, 2002, p.82)” One important feature of conceptual activity was united by puritanical values of conviction and self-righteousness where language and ideas were the true essence of art (Smith,
1981, p.260). Watkins explains that Kawara devotes himself in a counteraction of egoistic emotions to achieve enlightenment which is the transcendental message of 14 the Gospels and Buddhism, offer the possibility of realizing Eternal Truth (Watkins,
2002, p.82). Moreover, Kawara’s pursuit of enlightenment appears to have arisen from a deep-rooted belief in Shinto pre-war Japan when he spent in his childhood.
“Shinto is the indigenous faith of the Japanese people and more than a religion, encompassing ideas, attitudes, and ways of doing things more than 2000 years. (Jinja
Honcho, website，2013). So “an affirmation of the kind of consciousness can fill such days, the relatively unmediated and unhabituated perceptions of the world that characterize early childhood (Watkins, 2002, p.105)”. Kawara’ execution of date paintings as spiritual practice for nearly fifty years, then his continuing production, totalled at a number of “more than 2000 since 1966 (Watkins, 2002, p.82)”. This refer to that Hawking describes “a theory is a good theory if it satisfies two requirements: to describe a large class of observations accurately and to make definite predictions about the results of observations in future (Hawking, 1988, p.9). Hence, Kawara’s
2000 paintings are result of observations and still keeps meticulous paintings and his own rule is one of strictness in order to present his concepts through his work as representative of other humans for long period of time.
Whilst Kawara continues his date painting, he sent postcards to announce certain events such as, ‘I got up at nn a.m’. This action is a transformation of consciousness involving a translation from horizontality to verticality in space and implies initiative, a defiance of gravity and the state of being ‘still alive’ (Watkins, 2002, p.92). 15
Figure 4
On the contrary, Aoki points out that the phrase ‘I woke up’ indicates a mental or spiritual state, but ‘I got up’ indicates a physical bodily state (Yamabe, 2012, p.145).
The recipient of Kawara’s postcards acknowledging when and where Kawara had existed might think that Kawara was in the same time as whey they received them.
The gap of time between Kawara’s sending and the recipient’s receiving looks like a gap of light emitted in the far distance and people watch the light on earth. Yamabe intimated that “each is like a letter whose delivery has been delayed, or one might say that each work resembles a star” (Yamabe, 2012, p.145). Therefore, Kawara’s postcard indicates that the distance between Karawa and the receiver appears to be based in time difference. Hence, I could say that Kawara’s work proves that time and space are the same unit of dimension as Hawking explains. Watkins questions the announcement of the exact time gives the work a teasingly official or quasi-scientific tone that raises but who actually cares (Watkins, 2002, p.92). Kawara would not mind whether the recipient’s cared, but he might mind that Watkins does not understand the evidence suggestive of time and space being the same unit.
Kawara’s conviction and meditative approach to concepts of time, space and consciousness resulted in a long emotional journey from 998031 BC to 1000980AD. 16
Figure 5, 6
He typed vast amounts of numbers to represent two million years and the result of the creation of twenty volumes of books, One Million Years. He also made a dedication to the last person on the earth in his book “For the Last One”, indicating his belief in human extinction. We can see the similarity as the German artist Hanne Darboven, whose theme is also time, explained that numbers are constant, confined, artistic and are probably the only real discovery of mankind (Cooke, 2003). So that Kawara’s usage of numbers as years might celebrate mankind who painted cave pictures in
Altamira in Spain as well as discovering numbers. Is the year of 1000980AD really the last day for human? In physics, Hawkins and Roger Penrose “showed that Einstein’s general theory of relativity implied that the universe must have a beginning and possibly an end (Hawking, 1988, p.36). According to these theorists, the universe will end and humans will no longer be able to exist. So the idea of infinity is examined in the next chapter.
Giuseppe Penone
Both poetic leanings and conceptual quality are important for Penone and he always considers relationships between Nature and Man.
He started to work with natural elements in the 1960s during the period of strong reactions to the political and social system accompanying the desire for a resetting of values in order to renew identity (Zevi, 2011, p.58) Penone explained the concept 17 evolved in 1960s as a craving to understand the new world view after World War II led to an absolute reduction of values and a desire to begin from the most essential forms
(De Jongh, 2011), The core of Penone’s ideas and concepts might be the place where he grew up on a farm and spent his childhood surrounded by luxurious nature such as vineyards and fields of potatoes and wheat in Garessio, Italy, which his ancestors had cultivated. Touching a potato after being dug up could be a delightfully tactile experience for a child who might gain a solid feeling of the softness of the earth.
With this potential available to him, Penone began by focusing on tough and sight in an elementary way where the ideas for images arose from touching something.
Subsequent elaborations only came from being able to bring meaning and make the image a work of art (De Jongh, 2011). Penone also explains that good artworks combine poetic and conceptual characters which are two elements which can live together. The artwork is able to move people by sharing something extraordinary, revealing and surprising and this emotion is rationalized by concepts, so that a work of art could remain alive for a long period of time (De Jongh, 2011). Therefore, a work of art should consist of emotional surprises and concepts with longer lasting materials with the ability to continue to live for a long period of time. Thus, a work of art lasting through time only makes it possible that people see and understand it (De Jongh, ,
2011).
In the piece, ‘Alpi Marittime’ (1968-78) holding the tree with his hand, then replace the casting bronze his hand to hold the tree in order to preserve his gesture, so that the tree responded to his continuing touch. 18
Figure 7
Finally, time allows the tree to grasp his bronze hand and as such is proof that Penone creates his work as a result of collaborating with both the tree and time. His intention seems to be the realisation that nature exists near to people and attempts to make this more visible. This tends to show us nature, represented by the tree, as living in autonomously with time. Thus, Penone’s action of touch reveals both the tree as a force to shape his work of art and time exacting an effect on the growth of the tree through the intervention of his cast over a long period of time. Penone describes this work as being the action of the tree, which constructed itself independently as well as constricting itself with the passing of time (De Jongh, website, 2009).Therefore
Penone directly acts on the tree, waiting and observing the influence of time to change its shape.
Penone also shows the discovery of natural creation as the original form of a tree from a beam of wood. 19
Figure 8
Tree of 12 Metres 1980-2 (Penone, 1982)
This is “deeply rooted in the natural world in practice as well as in conceptual orientation” (Tuma, 2004, p.74). So, only Penone is able to reveal the natural processes and time, which people do not see or can not image, and to show them to the audience. Penone explains that the sculptor’s role is to indicate a form, a space and is similar to Michelangelo’s extracting the sculpture out of a block of marble.
However, De Zegher questions that Penone excavated an existing form of natural material, not an imagined figure, and imposed a form on that material (Tuma, 2004, p.74). Penone thinks that wood is a material with memory as if it were its’ own structure and time, reflecting these and restoring the form of the tree (De Zegher, 2004, p.35). Penone’s experience in the agricultural community in Garession made him aware that the world is in a continuous state of symbiosis and the point of bodily fusion and exchanges with the element to motivate a common vital force, to seek an existential union of human and nature (De Zegher, 2004, p.35). A half of humanity live in cities today and 60% of residents in city of 1 million are exposed to risks of natural disasters (United Nation, 2012). Therefore, Penone attempts to show nature and time to urban inhabitants who tend to forget nature.
Other contributions are drawings, creating large scale of skin’s lines, which are 20 extended outer circumference from the centre and the result of mental activity to attribute the yearly growth rings of tree. His drawings magnify the delicate sensing element of touch such as fingerprints to a large picture like landscape, so the viewer realizes the reflection of the body’s relationship to physical space (De Zegher,
2004,p.107).
Figure 9,10
The following line to approximate but not to connect is hard and difficult and also requires tension to make smoothly moving the pencil on paper. Drawings, as a meditative practice over a 25-year period, finds its ground and reason in the uniqueness of the growth rings of the tree, which mark time past underscoring the coherence and natural logic of the hidden reality of things (De Zegher, 2004, p.118).
Analyzing Penone’s idea and work of art, I have illustrated that his ideas of “nature and man’, “tactile”, “concept” and “poetry” are comparable to a unified theory. ‘Nature and man’ correspond to the gravitational force, because the natural world is synonymous with gravity，which “is so weak that we do not notice it (Hawking, 1988, p.70)”.
‘Tactile‘ is an electromagnetic force. Touching is an unconscious action like using electricity, combining touch with man, nature and gravity, respectively. “Concept” is comparable to weak nuclear force. This is an important idea in art as same as nuclear force, and has already incorporated into art world like “unified the weak nuclear force with the electromagnetic force (Hawking, 1988, p.71)”. Poetry is comparable to strong nuclear force. This is unfamiliar for viewers like strong nuclear force, but Penone fulfils 21 all his idea in his work of art. Hawking expresses the goal of physics is a complete understanding of the events around us, and of our own existence, but the complete, consistent unified theory is just the first step for them (Hawking, 1988, p.169). So,
Penone has already demonstrated his work of art to help people understand events in nature around them. His attempts to synthesis his interests appear to be counterpart to the unified theory.
Similarities and differences between Kawara and Penone
There are two similarities of both artists; pursuit nature and eternal truth and purify their sprit in long period of time. Kawara pursues eternal truth through the meditative approach to concepts of time and expresses time’s length, universality and affection for the perception of time. Penone works with time and reveals its affection on nature to show the viewers. Purifying their sprit let Kawara keep his rule and date painting until today, and typed nearly 16 million characters on 2000 sheets for his books with meditative way, and Penone executes big drawings as meditative practice.
Rawson explains that “good works of art present visitors with a wealth of imagery revealing each artist’s live and developing perspective”(Rawson, 2005, p.20). Kawara expresses the present time and continues painting for endless in future; therefore the audience understands his expression of time and its suggestion of forever. And
Penone’s longevity of material implies longer existence in future. So the next section will analysis the “endless“ and the “forever”.
5. Are expressions of infinity the most appropriate way for time to be represented? 22
Rozanska emphasizes that we have “entered a new era where art is no longer isolated from the real world and real people, and should always look for ways of encountering the ordinary and goes on forever, art is immortal “(Rozanska, website, 2012). My first animation, Space Elevator, is the story that a boy falls into a black hole after going up to the Mars by space elevator, a real one will launch in 2050(Nikkei BPnet, 2012), travelling to other stars. Even though the boy falls, he restarts his journey to the space again. Because my story imply a black hole would blast again and human progress their history again and again. The story is roped. Artists’ imagination and creation has no limitation, hence their works of art are infinite. In contrast, some physicists have a different view; that time has a limitation because the universe must end. Scientist should pursue theories of general principles of natural rules but artists are free from such rules. Comparing art and physics, artists have no limitation on their imagination and creativity; but physicists are always required to establish a theory to be true, and to prove the theory through experiment in order to make the theory consistent. Before examining the ‘infinite’, ‘forever’ and ‘endless’ within artists’ work, it is necessary to define the words.
According to Oxford Dictionaries Online, the definition of “infinite” is “limitless” or
“endless” in space, extent, or size; impossible to measure or calculate and greater than any assignable quantity or countable number in mathematics field (Oxford
Dictionaries Online) . “Forever” means ‘for all future time’ and ‘for always’: and
“endless” is ‘having or seeming to have no end or limit’ (Oxford Dictionaries Online,).
Hence, there is little differences between ‘infinite’ ‘endless’ and ‘forever’ in future time.
Historian George Kubler explained that “in the finite world we would have to envisage 23 a future with limited room for changes, because human tends to see future in radical way but the past as microscopic annex caused by discovered position for past and undiscovered ones “(Kubler, 1962, p.125-126). Kubler’s idea is that the future is infinite, so we should consider the future in the same way as we see the past. Le
Poidevin suggests ‘series which have a beginning but no end are only one kind of infinite series’ (Le Poidevin, 2003,p.82) : this means that the future is infinite.
Schampers comments that ‘”awara reduces the intangible inconceivable dimension of time to a visible, ordered structure without forfeiting any of that infinity (Schampers,
1992, p.200)”. Paintings nearly fifty years, the audience understand Kawara’s rendering of time as future oriented, in other words, the temporal extensiveness suggests a peculiar projection into the future through belaboring the present” (Lee,
2004, p.291). The process of painting the date on a canvas evokes the endless job, even though we know his painting will not be continued after his life ends.
On the other hand, Roger Penrose and Hawking show that “Einstein’s general theory of relativity implied that the universe must have a beginning and possibly, an end
(Hawking, 2005, p.xx)”. This means time is finite. Penone denies replies the question of infinity of time, even his friend Lee Ufan time seems to be infinite, he denies it because of limitation of point of view. (De Jong, websit, 2009). And he also denies that scientific terms makes no sense, like the world is flat, then earth is round, each new way of thinking expel the old way and makes it no value. On contrary, an old work of art still maintains its value today and can be interesting and astonishing now (De
Jongh, 2009). Penone’s idea to observe old master pieces could have implications for that the works should exist as long as possible or nearly infinite in future
24
To sum up, Kawara’s work might be understood and express in infinite and inexhaustibility, even though the view in time duration is limited, in other word, audience does not observe his entire works at one time, but they might be able to image its background spreading beyond and connecting to universe. Penone’s work of art also display and inexhaustibility because his works contain instantaneously apprehensible of time showing tree as longer operation life. So I would conclude that time as expression or using as medium is infinite and also time in a work of art is infinite, even though artists have limited time to live and many materials have the limitation to survive for long time.
6. Conclusion
In this research I have explored different notions of time in relation to art. As the result of this research, Penone’s ideas about time derive from the need to use materials which last for a long time and as such, it is easy to recognise that the longevity of material in artwork is important. As in this information society of virtual museums and archives, seeing real work is crucial. Even for Kawara, seeing the materiality of the cave picture in Altamira had “a special impact”. It has been important to show the process of development of both Penone and Kawara’s ideas, their works of art and their interactions with their environments. These do not have just ecological meanings but also include society, political and historical meanings. For Penone, time is a medium to transform works of art and he uses time as a co-worker. Penone’s works of art display time and tree’s longer operation life. His ideas of “nature and man’,
“tactile”, “concept” and “poetry” are comparable to “a unified theory” which most physicists as well as Hawing have been researching. 25
Kawara’s interest in concepts about time, space and consciousness are about recording the date and year in paintings and postcards, which are made at the present time, directly evoking time for his viewers forever. In his books, he has expanded further the notion of time stretching over two million years. So Kawara’s continuous date paintings are compatible with observations made by Hawking where each painting is a result of observations and evoking time for his viewers. Penone denies that time is infinite, because of limitations in his point of view whereas Kawara’s works of art imply continuous future production of work. The audience can image its background spreading beyond and connecting to the universe and hence time for work of art is infinite.
Further research should be concerned with new technology which might enable more diverse possibilities for creating works of art. It may not be necessary to be concerned with an original or a reproduction, for example, 3D printer makes it possible to produce the solid from data which artists create. We are surrounded by new media which is always progressing with new technology. Furthermore, sustainability should also be a concern for works of art in account for ecological view point.
Overall it is clear that artists should seek new aspects as time is always in progress and existence of art works is infinite. However, in any time, artists should remember not to fall into a black hole, by following Hawking suggestion of “Time will go on forever, unless fall into a black hole” 26
Bibliography
The Bloomberg Commission: Giuseppe Penone: Spazio di Luce [Internet]. Available from :< http://www.whitechapelgallery.org/exhibitions/the-bloomberg-commission-giuseppe-p enone-spazio-di-luce> [Accessed 15 Nov. 2012].
Cooke, L.(2003) Annelie Pohlen: introduction. [Internet]. Available from :< http://www.diaart.org/exhibitions/introduction/80> [Accessed 4 Feb. 2013].
David Zwirner (2012) On Kawara: Date Painting(s) in New York and 136 Other Cities January 6 - February 11, 2012 David Zwirner; New York. [Internet]. Available from :
De Jongh, K.(2009) Giuseppe Penone: Conversation with Karlyn De Jongh. [Internet]. Available from :< http://www.personalstructures.org/index.php?page=302&lang=en> [Accessed 19 Oct. 2012].
De Jongh, K.(2011) Simple Things and Natural Actions: a Conversation with Giuseppe Penone. Sculpture [Internet]. vol. 30 (2), p24-31. Available from :
De Zegner, C.(2004) Conversation: Giuseppe Penne/ Catherine de Zegher. In: De Zegher, C.(ed.) Giuseppe Penone: the Imprint of Drawing L'imronta del disegno. New York: Drawing
Flam, J.(ed.)(1996) Robert Smithson : the collected writings. Berkeley, Calif.: Univ. of California Press
Foster, H. et al(ed.)(2011) Art since 1900, 2nd ed. London: Thames & Hudson.
Freid, M.(1998) Art and Objecthood. Chicago : University of Chicago Press
Freid, M.(2003) Art and Objecthood. In: Harrison, C. & Wood, P. eds. Art in theory 1900-2000. Oxford: Blackwell Pub.
Godferey, T. (1998) Conceputual Art. London: Phaidon.
Hawking, S. (1988) A Brief History of Time. London: Bantam.
Hawking, S.(2005) A Briefer History of Time. London: Bantam.
Holford-Strevens, L. (2005) The History of Time. Oxford: Oxford Univ. Press.
Jha, A. (2012) Neutrino reserchers admit Einstein was right. Guardian 8 June 2012 27
[Internet]. Available from :
Jinja Honcho (2013) What is Shinto? [Internet]. Available from :
Kosuth, J. (2003) Art after Philosophy. In: Harrison, C. & Wood, P. eds. Art in theory 1900-2000. Oxford: Blackwell Pub. pp.852-61.
Kosuth,J.(2007) Joseph Kosuth “TIME” [Internet]．Available from :http://www.personalstructures.org/index.php?page=197&lang=en&item=34&n=0 > [Accessed 25 Oct. 2012]．
Kurbler, G.A.(1962) The Shape of Time. London: Yale Univ. Press.
Le Poidevin, R. (2003) Travels in four dimensions: the enigmas of space and time. Oxford : Oxford Univ. Press.
Lee, P.M.(2004) Chronophobia on time in the art of the 1960s. London: MIT Press.
LeWitt, S.(2003). Paragraphs on Conceptual Art. In: Harrison, C. & Wood, P. eds. Art in theory 1900-2000. Oxford: Blackwell Pub. pp.846-9.
Lucie-Smith, E.(2001) Movements in Art since 1945, new ed. London: Thames & Hudson.
McClain, J.(1985) Time in the Visual Arts: Lessing and Modern Criticism. The Journal of Aesthetics and Art Criticism, 44/1, pp.41-58 [Internet]. Available from :< http://www.jstor.org/stable/pdfplus/430538.pdf > [Accessed 13 Aug. 2012].
Nikkei BP Net. Space elevator of 100,000 meters in height (2012) Nikkei BP Net, 17 April 2012 [Internet]. Available from :< http://www.nikkeibp.co.jp/article/news/20120417/305820/> [Accessed 02 Feb. 2013].
Penone, G. (2009) Giuseppe Penone: conversation with Karlyn de Jongh. [Internet]. Available from :
Rawson, P. S.(2005) Art and Time. London: Yale Univ. Press
Rozanska, K. (2012) Tatsuo Miyajima "House Lives with Time" at Han Family's House in Gahoe-dong, Seoul. [Internet]. Available from :
Schampers, K. (1992) A Mental journey in time. In: Schampers, K. (ed.) On Kawara : date paintings in 89 cities. Rotterdam : Museum Boymans-Van Beuningen. 28
Shlain, L. (2006) Art & Physics: Parallel Visions in Space, Time & Light. [Internet]. Available from : Smith, R.(1981) Conceptural Art. In Stangos, N.(ed.) Concepts of Modern Art, 3rd ed. London: Thames & Hudson. Smithson, R.(1966) Quasi-Infinities and the Waning of Space. Arts Magazine, 41, pp.34-7. Tuma, K.A.(2004) The Other Side of Naturel. In: De Zegher, C.(ed.) Giuseppe Penone: the Imprint of Drawing L'imronta del disegno. New York: Drawing Center. United Nation, Department of Economic and Social Affairs, Population Division(2012) World Population Prospects, the 2010 Revision: press release. [Internet]. Available from : Walther, I.F.(ed.)(2005) Art of the 20th Century. K ln : Taschen. Watkins, J. (2002) On Kawara. London : Phaidon Yamabe, L.(2012) On Kawara's Quantum Gravitational body, or the Confinement of Space-time and the Liberation of Consciousness. In: Mitchell, D. et al.(eds.) On Kawara : date painting(s) in New York and 136 other cities. Antwerp : Ludion Zevi, A.(2011) Giuseppe Penone: Hands-On. In: Giusepe Penone. London: Haunch of Venison London. Figuers Figure 1 Watkins, J.(2002) On Kawara. London: Phaidon. p.64-5. Figure 2 David Zwirner [Internet]. Available from : Figure 3 David Zwirner [Internet]. Available from : 29 Figure 4 Watkins, J.(2002) On Kawara. London: Phaidon. p.94-5. Figure 5 Watkins, J.(2002) On Kawara. London: Phaidon. p.121. Figure 6 Watkins, J.(2002) On Kawara. London: Phaidon. p.124-5 Figure 7 Giuseppe Penne: Haunch of Venison London 26 May - 20 August 2011. London: Haunch of Venison London. p.16-7 Figure 8 TATE Modern [Internet]. Available from : Figure 9 Giuseppe Penne: Haunch of Venison London 26 May - 20 August 2011. London: Haunch of Venison London. p.3. Figure 10 Giuseppe Penne: Haunch of Venison London 26 May - 20 August 2011. London: Haunch of Venison London.p.32. Exbitions Penone, P.(2012) The Bloomberg Commission: Giuseppe Penone: Spazio di Luce:4 September 2012 - August 2013 Gallery 2. London: Whitechapel Gallery. Penone, P.(2012) dOCUMENTA(13) 9 June - 16 Sep. 2012. Kassel: Karlsaue. Penone, P.(2011) Giuseppe Penone:27 May - 20 Aug 2011. London, Haunch of Venison. Penone, P.(2012) Giuseppe Penone: drawing. 9 Sep. - 6 Oct. 2012. London, Haunch of Venison. Feferences Cohen, R.(2008) What Will Happen Next? [Internet]. Available from : De Jongh, K.(2008) On Kawara: Unanswered Questions [Internet]. Available from : Grubbs, D.(1998)Michael Fried: Art and objecthood: essays and reviews. Chicago review [Internet]. 44 (3-4) pp,193-195. Available from :< http://www.jstor.org/stable/25304330?seq=1> [Accessed 13 Aug. 2012]. Hawing, S.(2001) A Brief History of Time. [Internet]. Available from : Hawking, S. (1994) A Brief History of Time. In: Nickas, R. On Kawara: "The 80's" en ve : Art & Public. Hendricks, J.(1992) Light. [Internet]. Available from : Kawara, On (b.1933, Japan) Painter, draughtsman and conceptual artist. [Internet]. Available from : LeWitt, S.(2003) Sentences on Conceptual Art. In: Harrison, C. & Wood, P. eds. Art in theory 1900-2000. Oxford: Blackwell Pub. pp.849-51. Meyer, J.(2006) Book Reviews: Chronophobia. The art Bulletin, 88, 4, ppp.781-3. [Internet]. 88 (4) pp.781-3. Available from : Penone, G. (2011) Giuseppe Penone / [curated by Adachiara Zevi]. London : Haunch of Venison Penone, G. (1997) Giuseppe Penone. Torino: Hopefulmonster. Penone, G. (2011) Ed. by de Zegher, G. Giuseppe Penone: the imprint of Drawing. New York: The Drawing Center.