Yoko Ono: One Woman Show, 1960–1971 examines the beginnings of Ono’s career, demonstrating her pioneering role in visual art, performance and music during the 1960s and early 1970s. It begins in New York in December 1960, where Ono initiated a performance series with La Monte Young in her Chambers Street loft. Over the course of the decade, Ono earned international recognition, staging “Cut Piece” in Kyoto and Tokyo in 1964, exhibiting at the Indica Gallery in London in 1966, and launching with John Lennon her global “War Is Over!” campaign in 1969. Ono returned to New York in the early 1970s and organized an unsanctioned “one woman show” at MoMA. Over 40 years after Ono’s unofficial MoMA debut, the Museum presents its first exhibition dedicated exclusively to the artist’s work. The accompanying publication features three newly commissioned essays that evaluate the cultural context of Ono’s early years, and five sections reflecting her geographic locations during this period and the corresponding evolution of her artistic practice. Each chapter includes an introduction by a guest scholar, artwork descriptions, primary documents culled from newspapers, magazines and journals, and a selection by the artist of her texts and drawings.
Born in Tokyo in 1933, Yoko Ono moved to New York in the mid-1950s and became a critical link between the American and Japanese avant-gardes. Ono’s groundbreaking work greatly influenced the international development of Conceptual art, performance art and experimental film and music. In celebration of Ono’s eightieth birthday in 2013, the Schirn Kunsthalle Frankfurt organized a major traveling retrospective.

During the late 1960s and early 1970s, in response to the political turbulence generated by the Vietnam War, an important group of American artists and critics sought to expand the definition of creative labor by identifying themselves as “art workers.” In the first book to examine this movement, Julia Bryan-Wilson shows how a polemical redefinition of artistic labor played a central role in minimalism, process art, feminist criticism, and conceptualism. In her close examination of four seminal figures of the period–American artists Carl Andre, Robert Morris, and Hans Haacke, and art critic Lucy Lippard–Bryan-Wilson frames an engrossing new argument around the double entendre that “art works.” She traces the divergent ways in which these four artists and writers rallied around the “art worker” identity, including participating in the Art Workers’ Coalition–a short-lived organization founded in 1969 to protest the war and agitate for artists’ rights–and the New York Art Strike. By connecting social art history and theories of labor, this book illuminates the artworks and protest actions that were central to this pivotal era in both American art and politics.

Publication containing extracted essays by Lucy R. Lippard, Alan W. Moore, Francis Frascina, Julia Bryan-Wilson, and Andrea Fraser. Includes an interview between Hans Haacke and Dario Corbeira, reproduction of Seth Siegelaub and Robert Projansky’s “Artist’s Reserved Right Transfer and Sale Agreement,” as well as reprints of the Art Workers’ Coalition publications “Open Hearing” and “Documents 1” pilfered from Primary Information. Edited by Dario Corbeira and Daniel Patrick Rodriguez. Texts in English and Spanish.

Exhibition catalogue published in conjunction with Prospect 69 held September 30 – October 12, 1969. Conceived of and organized by Konrad Fischer and Hans Strelow. Edited section by Seth Siegelaub incorporates interviews with Robert Barry, Douglas Huebler, Joseph Kosuth, and Lawrence Weiner conducted individually by themselves. rovides an overview of participating galleries and their artists.
Artists include Bernd & Hilla Becher, Hanne Darboven, Jan Dibbets, Bruno Gronen, Michael Heizer, Sol LeWitt, Richard Long, Reiner Ruthenbeck, and Niele Toroni. Additionally includes full-page images or projects by Robert Smithson (Mirror Displacement, Portland Isle, England, 1969), Charles Ross, Markus Raetz, Jean-Frédéric Schnyder, Jannis Kounellis, Eliseo Mattiacci, Stanley Brouwn, Alighero Bottti (1/2 page), Emilio Prini (1/2 page), Giuseppe Penone (1/2 page), Pier Paolo, Calzolari (1/2 page), E.P. Butler (1/2 page), Eric Orr (1/2 page), James Lee Byars (1/2 page), Paul Cotton (1/2 page), Hans Haacke, Lynda Benglis, Ron Cooper, Doug Wheeler, Giorgio Griffa, David Prentice, a double-page centerfold of blue stripes by Daniel Buren, Dennis Oppenheim, ZAJ-Gruppe, Dick Higgins, Joseph Beuys (photo by Ute Klophaus, David Lamelas, and 13 “Information” pages with advertising

References : “Seth Siegelaub : Beyond Conceptual Art” by Leontine Coelewij, Sara Martinetti, Marja Bloem, Julia Bryan-Wilson, Jo Melvin, Götz Langkau, Matilda McQuaid, Alan Kennedy, Seth Siegelaub. Köln and Amsterdam, Germany / Netherlands : Verlag der Buchandlung Walther König / Stedelijk Museum, 2016, pp. 176-179. “Six Years, The Dematerialization of the Art Object from 1966 to 1972 : A Cross-Reference Book of Information on Some Esthetic Boundaries . / edited and annotated by Lucy R. Lippard.” by Lucy R. Lippard. Praeger Publishers Inc., NY / DC : Praeger Publishers Inc., 1973, pp. 113 – 115.