James Lee Byars - Conceptual Art

James Lee Byars ( 1932- 1997)was an American conceptual artist and performance artist specializing in installations and sculptures, as well as a self-considered mystic. He was best known for his use of personal esoteric motifs, and his creative persona that has been described as 'half dandified trickster and half minimalist seer'.
Byars' works are often noted as constantly incorporating specific personal themes and motifs, leaning towards the esoteric while simultaneously being ritualistic and materialistic: Robert Clark, writing for The Guardian on the occasion of a Milton Keynes exhibition of his work, described it as 'impenetrably yet intriguingly hermetic'.Most in particular was gold as a material, which served as an elemental identifier. As well as this, works of his demonstrate a fascination with the symbolism of numbers: Clark quotes in the same exhibition, referring to a specific piece of his, writing that he 'imbued the number 100 with symbolic significance, having made a symmetrical arrangement of 100 white marbles and draping 100 nude volunteers in a collective red garment'.A common theme in his works is perfection (especially upon the word 'Perfect'), which he extended into a personal journey that led to his ambiguously celebratory exploration of shapes, numbers and precious materials. A MoMA text explaining his oeuvre, in the context of his piece The Table of Perfect, noted that while it "looks pristine, it—like any other object—can only ever exist as a sign of perfection and can never embody the total concept."Wikipedia

 

James Lee Byars - Installations and Conceptual Art

James Lee Byars (born April 10, 1932 in Detroit, Michigan – died May 23, 1997 in Cairo, Egypt)was an American conceptual artist and performance artist specializing in installations and sculptures, as well as a self-considered mystic. He was best known for his use of personal esoteric motifs, and his creative persona that has been described as 'half dandified trickster and half minimalist seer'.
Byars' works are often noted as constantly incorporating specific personal themes and motifs, leaning towards the esoteric while simultaneously being ritualistic and materialistic: Robert Clark, writing for The Guardian on the occasion of a Milton Keynes exhibition of his work, described it as 'impenetrably yet intriguingly hermetic'.Most in particular was gold as a material, which served as an elemental identifier. As well as this, works of his demonstrate a fascination with the symbolism of numbers: Clark quotes in the same exhibition, referring to a specific piece of his, writing that he 'imbued the number 100 with symbolic significance, having made a symmetrical arrangement of 100 white marbles and draping 100 nude volunteers in a collective red garment'.A common theme in his works is perfection (especially upon the word 'Perfect'), which he extended into a personal journey that led to his ambiguously celebratory exploration of shapes, numbers and precious materials. A MoMA text explaining his oeuvre, in the context of his piece The Table of Perfect, noted that while it "looks pristine, it—like any other object—can only ever exist as a sign of perfection and can never embody the total concept."Wikipedia

Installation art James Lee Byars

James Lee Byars (born April 10, 1932 in Detroit, Michigan – died May 23, 1997 in Cairo, Egypt) was an artist specializing in installation sculpture and in performance art. Byars' notable performance works include "The Death of James Lee Byars" and "The Perfect Smile..Byars was born in Detroit in 1932, studied art and philosophy at Wayne State University and lived in Japan from 1958 to 1968, teaching English and executing his first performance works under the influence of Noh theater and Shinto rituals
When Byars was 37 years old—then half an average lifespan—he wrote his “1/2 autobiography.” Sitting in a gallery, he jotted down thoughts and questions every time a visitor approached him, and published them afterwards in a book he also titled The Big Sample of Byars. Obsessed by the idea of perfection, Byars produced a remarkable body of work that strove to give form to his search for beauty and truth. Pursuing what he called “the first totally interrogative philosophy,” he made and proposed art at scales ranging from the vastness of outer space to the microscopic level of subatomic particles, in an attempt to delineate the limits of our knowledge while enacting a desire for something more.

 After studying art and philosophy, Byars moved to Kyoto in 1958, where he spent much of the next decade. Influenced by aspects of Japanese Noh theater and Shinto rituals, Byars created and performed folded paper works at sites including Japanese temples and New York galleries, and made fabric pieces that served as costumes to join together two or more people in public performances. Throughout his career, he also produced a large quantity of printed books, ephemera and correspondence that he distributed among friends and acquaintances. Dispersed across a wide geography, they attest to Byars’s desire to be present—however fleetingly—in different places and times.Byars lived and worked itinerantly, moving between New York, Venice, San Francisco, Kyoto, Bern, the Swiss Alps, Los Angeles and the American southwest, eventually choosing to die in Cairo. Posing his art confoundingly between apparent contradictions—the monumental and the minuscule, the universal and the personal, the luxurious and the minimal, the relic and the event, the spectacular and the invisible—Byars heightens the viewing experience. In the aesthetic interrogations he provokes, he suggests that perfection may occur not simply at the most evanescent edges of form, but also in the attenuated moments of attention spent trying to discern it.Wikipedia