Research: Artist and Timelines

Sara Fanelli

(http://capitadiscovery.co.uk/brighton-ac/items/1237141)

Felix Gonzalez Torres

He made billboards and posters that record timelines in a more concise and oblique manner – referring to them as portraits of a particular person.

Untitled (billboard of an empty bed) is a stark, black-and-white image of the rumpled sheets and pillows of an unmade bed. The depression in the center of each pillow, suggesting a recent presence, conveys a profound sense of intimacy. But this scenario is in jarring contrast to its public location—on a billboard. First exhibited on the streets of Manhattan, this evocation of absent bodies soon came to define all of Felix Gonzales-Torres’ work up until his death in 1996 from AIDS-related causes. The artist is most known for ephemeral installations: a pile of candy in a corner (below), a stack of posters on the floor, or strings of lights dangling from a ceiling—all of which recall the reduced visual and formal language of Conceptual and Minimalist art from the 1960s and 1970s. golden,  Felix Gonzalez Torres 1995

(https://www.khanacademy.org/humanities/global-culture/identity-body/identity-body-united-states/a/felix-gonzalez-torres-untitled-billboard-of-an-empty-bed)

On Kawara 

On Kawara was a pioneer of mail art, and would make and send postcards to friends, colleagues, and art writers documenting where he was the precise time he woke up.  The examples below are addressed to two German curators and fellow conceptual artist, John Baldessari.

On Kawara I Got Up 1968 - 1974

Considered the most personal and intimate of his works, I GOT UPis part of a continuous piece produced by On Kawara between 1968 and 1979 in which each day the artist sent two different friends or colleagues a picture postcard, each stamped with the exact time he arose that day and the addresses of both sender and recipient. The length of each correspondence ranged from a single card to hundreds sent consecutively over a period of months; the gesture's repetitive nature is counterbalanced by the artist's peripatetic global wanderings and exceedingly irregular hours (in 1973 alone he sent postcards from twenty-eight cities). Moreover, Kawara's postcards do not record his waking up but his "getting up," with its ambiguous conflation of carnal and existential (as opposed to not getting up) implications.

Contrasted with the random temporal shifts conveyed in the text messages are the diverse images of Manhattan featured on the postcard fronts, which accumulate over the piece's forty-seven day duration into an unexpectedly quasi-cinematic aerial tour of the city—circling around the United Nations (and inside the General Assembly), down the East River along the waterfront to New York Harbor and the Statue of Liberty, and finally roaming around Federal Plaza at street level before coming to rest at City Hall. Like the newspaper pages that line the special cases housing each date painting, these found images juxtapose the infinite variety and quotidian reality of the public world with the elliptical, self-reflexive messages on the back. The sequence also extracts a drifting urban poetry from the mass-produced and anonymous, layering it conceptually over the banal, functional postal route of the objects themselves, as well as reintroducing a formal design to a work that is at first glance anticompositional.

With tremendous economy of means and a surprising visual elegance, Kawara creates a complex meditation on time, existence, and the relationship between art and life.

(http://www.metmuseum.org/toah/works-of-art/2001.228a-pp)