Abstract
The dematerialization of the art object was a common goal shared by many avant-garde artists of diverse nations and media throughout the 1960s. Alexander Kusztyk notes that the theme of marble, a material most appropriate for tangible and permanent art objects, dominated several conceptual works by Yoko Ono during that period. In these pieces, the artist explores ways of evoking and then dissolving the idea of the crystalline stone through processes of “obliteration, obfuscation and coverage,” at the same time evoking the traditional Japanese karesansui, the dry rock-and-sand garden that paradoxically employs stones to guide us to a meditative state transcending the material world.
Published Version
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