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One of the twentieth century's most influential and iconoclastic protagonists, John Cage (1912-1992) may be described not so much as a composer, artist and author, as a thinker who applied his ideas equivalently to sound, visual art and writing. As with his music, the use of chance operations--in particular via the Chinese Book of Changes, or I Ching--was central to Cage's approach to visual art, determining technique, the placement of forms and even tonal values. Every Day is a Good Day provides the first broad assessment of Cage's art, and is fully illustrated with plates of his drawings, watercolors and prints, including series such as Where R=Ryoanji (1983-92). Cage's working methods and philosophies are brought to light in new interviews with key collaborators: printmaker and writer Kathan Brown, founder of Crown Point Press; Laura Kuhn, Director of the John Cage Trust; artist Ray Kass; and Julie Lazar, curator of Cage's composition for a museum, Rolywholyover: A Circus. Extracts from a 1966 interview between John Cage and critic Irving Sandler are also reproduced. At the heart of the book is a "Companion to John Cage," a selection of quotes by Cage and notes on key themes and influences, all of which make it essential reading on this important figure of the twentieth-century avant garde.
Many of the writings about John Cage are difficult to understand--at least when it comes to understanding Cage's working methods and patterns. ( Of course this may not be true if one is a trained musician.) The book, Every Day is a Good Day, is a good place to start to get an idea of the scope and variety of his visual art. Beautifully illustrated and comprehensive, the book only falls short by not including one of his last projects, Edible Drawings, a story of the production of his three suites of edible paper produced at Rugg Rd., Boston, and Snake Knob Paperworks, North Carolina between 1989 and 1991.
