John Cage (1912–1992). Where R = Ryoanji (3R/17), 1992. Pencils on handmade Japanese paper, 25.4 x 48.3 cm. The John Cage Trust, Red Hook, New York. Photo: David Heald/Solomon R. Guggenheim Foundation, New York. © The John Cage Trust at Bard College

John Cage’s (1912–1992) Buddhist-influenced approach to creating art would have an enormous impact on the development of American art in the mid-20th century. He created musical compositions that “allowed sounds to be themselves,” intentionally abandoning the ego-self to emphasize that art and daily life were one and the same.

Cage staunchly refused to create art in keeping with expectations, and all his creative endeavors, including dance, music, and visual art, were revolutionary. His Lecture on Nothing began with his statement, “I am here and there is nothing to say.” His concerts were even more challenging. In 1952, he premiered his most notorious composition, 4' 33". In a concert hall filled to capacity, Cage presented a piece of four minutes and 33 seconds of total silence on the part of the performer, into which the random sounds of the world entered. When first performed it created a scandal. At the premiere some listeners were unaware that they had heard anything at all. Cage said, “People began whispering to one another, and some people began to walk out. They didn’t laugh— they were just irritated when they realized nothing was going to happen, and they haven’t forgotten it 30 years later: they’re still angry.”

Cage’s point is that 4' 33" isn’t silent at all. You are supposed to hear the noise of the person beside you, a cough in the audience, a musician moving in a seat, or a string stretching on an instrument. The goal is to hear everything you normally wouldn’t notice. Cage believed that the purpose of art is to open our hearts and minds to the flow of reality.

Although Cage was best known for his musical endeavors, he also created works of visual art. A series of graphite drawings were inspired by the garden of the Rinzai Zen Buddhist temple Ry?anji in Kyoto, Japan. The garden is an austere arrangement of 15 rocks resting on a bed of white gravel. Cage used 15 stones in composing the series. He placed each stone on the paper, its location determined by chance, and traced around it a certain number of times, also determined by chance, until the paper carried the images of all fifteen stones. Cage turned to the ancient Chinese book of wisdom—the I Ching, or Book of Changes—to govern these aesthetic decisions. He stated, “I use chance operations instead of operating according to my likes and dislikes.” This approach allowed Cage to escape his own preferences and open himself up to new possibilities.

• Since Cage’s approach to art encourages us to dispense with our egos, describe Cage’s drawing as objectively as possible, not focusing on your personal likes or dislikes, but on describing only what you see.
• Cage used elements of chance to determine the placement of his forms and lines on the page. Can you identify any aspects of this drawing that allude to how it was created?
• John Cage based this series of drawings on a place that he found inspirational, the Rinzai Zen Buddhist temple Ry?anji in Kyoto, Japan. Compare photos on the Web site to Cage’s drawing. How does seeing photos of the place Cage was inspired by change the way you respond to his drawing?

• One of Cage’s most famous works is 4' 33", a performance staged in a concert hall that consists of the pianist going to the piano, and not hitting any keys for four minutes and thirty-three seconds. Research more about this work and then discuss why Cage might have created it. Would you have wanted to attend this performance? Why? Why not?
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• Cage once stated, “Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating.” Close your eyes and take four minutes and thirty-three seconds to listen to the sounds around you. Then write down all that you remember noticing. Was there anything you heard that surprised you? Discuss the experience of focusing your attention on the very sounds we usually try to ignore.
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• Create two works of art that focus on the same theme. In the first one consciously plan and premeditate every possibility—leaving as little to chance as possible. For the second find ways to incorporate elements of chance into its creation. For instance:
  • You may create a second poem using all the words used in the first poem, but this time write the words on separate pieces of paper and turn them all face down. Your new poem might be created by randomly turning over words.
  • Even if you don’t own a copy of the I Ching, you can use dice to choreograph a dance by assigning a type of dance movement to correlate with each side of the die.
  • Try drawing in a way where it is more difficult to control the result: with your eyes closed, or with your non-dominant hand.
• Compare the two experiences. Many artists like to balance these two approaches—being intentional about their work, but also valuing the “happy accidents” that occur during the process of creating. Determining how chance will affect your work is a creative decision as well.
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  Visual Arts


• John Cage was inspired by a place that had special meaning for him. Think of a place that has meaning for you and create a work of art that conveys the essence of that place. Then share your work, your inspiration, and your process with your classmates.
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