On Kawara, Moon Landing (detail), 1969, from the Today series (1966–2013), acrylic on canvas, three panels, each 61″ x 89″. Installation view, Glenstone Museum. © One Million Years Foundation. Photo: Ron Amstutz. Courtesy Glenstone Museum.

Not long ago, I volunteered to take part in a performance at the contemporary art museum near my home. Very little is known about the artist who created the piece. Even in a recent obituary, his date of death and the names of survivors were deliberately withheld, “in keeping with his lifelong penchant for privacy.” In death, as in life and art, his biography has remained publicly minimalist.

We do know that he was born on December 24, 1932, in Kariya, Japan. And so he would have been roughly four months from his thirteenth birthday when nuclear bombs were dropped on his country. In his late twenties, he moved to Mexico City with his father, the director of an engineering company, where he continued to study art, eventually moving to Paris, then New York, and wherever else he lived. His art-making turned from early figurative paintings to the conceptual and process-based works he became known for, along with his reclusiveness.

Private lives are always ordinary to someone. It is said that the artist enjoyed seeing friends, drinking, conversing, traveling the world (a lifelong passion). Over the years, he sent postcards and telegrams from distant locales with messages like I GOT UP AT 9:04 A.M. and I AM STILL ALIVE to galleries, artists, and friends, this becoming part of his artistic production, akin to the mail art conceived by others in his generation. He established permanent residences in at least a few of the most cosmopolitan metropolises in the world, either successively or simultaneously, though he never revealed anything about his own experiences of these places, his artistic persona more like a wandering ghost, floating around the globe, creating a sort of code that only he held the keys to, dispersing, or erasing, himself into matter-of-fact one-line messages, the monochrome dates, newsprint, and coordinates of his paintings, lists of names and years, color-coordinated calendars. Read More

Let me tell you something about children’s poetry: people tend to create it for the right reasons. I was taught this concept in connection to medieval lyric poetry. My teacher’s point was that art made in the modern world is under scarcely any obligation to be good. It can be interesting instead, or new. Or it can “bear witness.” Being good—actually good—is even considered a little passé.

The minute you bring a six-year-old into the picture, though, everything changes. She doesn’t care whether what you’re doing “serves as a useful critique.” She wants it to be good. Consequently, if I’m in a used bookstore and I see a book called Thai Children’s Poetry or Setswana Children’s Poetry or Inuit Children’s Poetry, I pretty much buy it on contact. One wants to know: Does Botswana have a Dr. Seuss? Does Thailand? ’Cuz if they do, I need to know about it.

Russia had a Dr. Seuss. Same deal as ours, except his hot decade wasn’t the fifties; it was the twenties. There’s a lot to be said here.

Name: Kornei Chukovsky. Dates: 1882 to 1969. Number of supremo-supremo classic children’s books to his credit: ten or twelve. His stuff is a lot like Green Eggs and Ham: about that long; rhymes bouncing around like popcorn; no real point in sight. (Of course, like with everything else, you can carry whatever point you like into his books and then pretend you found it there. It’s like cops planting weed in people’s cars.)

Chukovsky’s backstory is pleasant. He was a young father; his son was sick. I think he had dysentery, I’m not sure. Somehow, everyone thought the family doctor was the only one would could be consulted, so Chukovsky wound up on a train in the middle of the night with that poor kid, age like four or something, sick and moaning. To take the kid’s mind off the horribleness, Chukovsky got him engrossed in some kind of collaborative improvisation game, rhyming like crazy around a story of a crocodile who comes to Saint Petersburg and eats a dog and then a cop or something… there’s a war … the crocodile runs around … Chukovsky’s kid was just a teeny thing, but he knew inspiration when he saw it. He forgot all about his guts and helped Mozart compose his first symphony.

Next day, the two of ’em knew that what they’d made was too good to let go off, so they sat at a table and reconstructed what they could. Chukovsky took that reconstruction, fixed it up, made it make sense, and voilà: ready for the printer. I’m doing all this from memory.

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