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Home / Prints and Multiples / Shusaku Arakawa, The Degrees of Meaning , 1973
Shusaku Arakawa, The Degrees of Meaning , 1973 Shusaku Arakawa, The Degrees of Meaning , 1973 Shusaku Arakawa, The Degrees of Meaning , 1973 Shusaku Arakawa, The Degrees of Meaning , 1973 Shusaku Arakawa, The Degrees of Meaning , 1973
Shusaku Arakawa, The Degrees of Meaning , 1973 Shusaku Arakawa, The Degrees of Meaning , 1973 Shusaku Arakawa, The Degrees of Meaning , 1973 Shusaku Arakawa, The Degrees of Meaning , 1973 Shusaku Arakawa, The Degrees of Meaning , 1973

Shusaku Arakawa, The Degrees of Meaning , 1973

Shusaku Arakawa

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Current Stock: 1

Description

Shusaku Arakawa
The Degrees of Meaning , 1973
Color Lithograph and Silkscreen. Hand Signed, Numbered and Dated. Framed.
36 1/4 × 27 1/4 in
92.1 × 69.2 cm
Edition 25/100
Printed by Styria Studio, Inc. with Blind stamp
 
Hand signed, numbered from the limited edition of only 100 and dated on recto,  lower right hand corner. This work is from the Realities and Paradoxes portfolio. It is classic Arakawa - an important example of his way of displacing sometimes cryptic words onto images as a form of artistic philosophy and performance. Shusaku Arakawa (荒川 修作 Arakawa Shūsaku, July 6, 1936 – May 18, 2010) who spoke of himself as an “eternal outsider” and “abstractionist of the distant future,” first studied mathematics and medicine at the University of Tokyo, and art at the Musashino Art University. He was a member of Tokyo’s Neo-Dadaism Organizers, a precursor to The Neo-Dada movement. Arakawa’s early works were first displayed in the infamous Yomiuri Independent Exhibition, a watershed event for postwar Japanese avant-garde art. Arakawa arrived in New York in 1961 with fourteen dollars in his pocket and a telephone number for Marcel Duchamp, whom he phoned from the airport and over time formed a close friendship. He started using diagrams within his paintings as philosophical propositions. Jean-Francois Lyotard has said of Arakawa’s work that it “makes us think through the eyes,” and Hans-Georg Gadamer has described it as transforming “the usual constancies of orientation into a strange, enticing game—a game of continually thinking out.” Quoting Paul Celan, Gadamer also wrote of the work: "There are songs to sing beyond the human." Arthur Danto has found Arakawa to be “the most philosophical of contemporary artists." For his part, Arakawa has declared: “Painting is only an exercise, never more than that.” Arakawa and Madeline Gins are co-founders of the Reversible Destiny Foundation, an organization dedicated to the use of architecture to extend the human lifespan. They have co-authored books, including Reversible Destiny, which is the catalogue of their Guggenheim exhibition, Architectural Body (University of Alabama Press, 2002) and Making Dying Illegal (New York: Roof Books, 2006). Arakawa's own feeling was that he was an artist ahead of his time.
The present work bearsThe Sande Webster Gallery label on verso of frame.
 

Measurements

Height:   36.25
Width:   27.25
Depth:   1.50

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