The author’s visit to the studio of Hikosaka Naoyoshi began with a discussion of specific works from the 1970s by Hikosaka but unfolded into a multilayered discourse by the artist on his philosophical approach to art-making. Taking a cue from the catalytic and tangential discourse and leaving behind notions of historical objectivity, the author explores connections between an early collaborative sound work of Hikosaka’s from 1972 and his works from the same period in photography and performance.
© 2024 by The Regents of the University of California
2024
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