Softcover. Number 3 in the “Holiday Graphics” series. Included in “The Japanese Photobook, 1912–1990” by Kaneko Ryuichi & Manfred Heiting
Classic artist’s book by Yoko Ono of Instruction Works for music, painting, events, poetry, objects, film, dance, and other activities and writings by Ono. Introduction by John Lennon.
To Camp 4 Kiriko… is the last of four scarce and sought after books self-published by Kawahito in 1972. The other three titles in the series are To Camp 1 “Light On”, To Camp 2 Snake, and To Camp 3 A Slug. Each incorporates lyrics from artists such as the Beatles and Frank Zappa in the title or in the credits. In this instance, the title is taken from John Lennon’s lyrics for the song Mother which appears on his album John Lennon/Plastic Ono Band (1970).
In the mid-1960s, Fluxus founder George Maciunas became preoccupied with the problem of artists’ housing. “Normally the artist requires long unbroken spaces with high ceilings and adequate illumination,” he wrote in a manifesto, “and these needs can only be met by commercial lofts.” Maciunas saw that New York’s numerous underutilized downtown buildings would provide ideal live-work spaces for artists, and in 1967 he bought 80 Wooster Street, creating the first artists’ co-op, and one of Manhattan’s most buzzing avant-garde hotspots. 80 Wooster Street was home to Trisha Brown, Jonas Mekas and Robert Watts among others, and hundreds of artists, including John Lennon, Yoko Ono, Philip Glass, Hermann Nitsch, Nam June Paik and Andy Warhol showed their work there. Revealing the labyrinthine history and legacy of 80 Wooster St and SoHo through archival photographs, interviews and first-person accounts, Illegal Living offers a definitive excavation of Maciunas’ incredible venture.
Venti ritratti celebri da completare punto per punto GANDHI, SHAKESPEARE, ALFRED HITCHCOCK, ELVIS, MARILYN MONROE, ANDY WARHOL, JOHN LENNON, BOB MARLEY, MONNA LISA, MICHAEL JACKSON, AUDREY HEPBURN, JOHN F KENNEDY, VAN GOGH, MADONNA, ALBERT EINSTEIN, MUHAMMAD ALI In un’epoca in cui anche gli adulti amano divertirsi come bambini, vi offriamo questo The 1000 Dot-to-Dot Book. Thomas Pavitte ha messo insieme una collezione unica di disegni “dot-to-dot”, da realizzare unendo 1000 puntini. Vi occorrerà un bel po’ di tempo per completare ogni schema ma ne trarrete grandi soddisfazioni. Grazie alla scelta di soggetti iconici ripensati con uno stile unico, questo libro vi permetterà di ottenere immagini talmente belle che vorrete appenderle alla parete.
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.
Scrapbook of the Sixties is a collection of published and unpublished texts by Jonas Mekas, filmmaker, writer, poet, and cofounder of the Anthology Film Archives in New York. Born in Lithuania, he came to Brooklyn via Germany in 1949 and began shooting his first films there. Mekas developed a form of film diary in which he recorded moments of his daily life. He became the barometer of the New York art scene and a pioneer of American avant-garde cinema. Every week, starting in 1958, he published his legendary Movie Journal column in The Village Voice, writing on a range of subjects that were by no means restricted to the world of film. He conducted numerous interviews with artists like Andy Warhol, Susan Sontag, John Lennon & Yoko Ono, Erick Hawkins, and Nam June Paik. Some of these will now appear for the first time in his Scrapbook of the Sixties. Mekas s writings reveal him as a thoughtful diarist and an unparalleled chronicler of the times a practice that he has continued now for over fifty years.
Count Basie, Tchaikovsky, Aretha Franklin, Lou Reed, Diana Ross, John Lennon and the Rolling Stones all had their music promoted by Andy Warhol’s record covers. This catalogue raisonne reproduces the fifty covers, front and back, designed over four decades that bear Warhol’s unmistakable imprint. It also includes over 100 additional illustrations, featuring related works by Warhol, photographs of performances as well as documentary images identifying his visual sources. Paul Marechal explores Warhol’s creative process, his relationship with artists and his fascination with all kinds of music. The range of music represented through these record covers, from jazz to classical, and from rock to soul, reveals the breadth of Warhol’s musical tastes and his extraordinary ability to combine his artistic vision with the music and the recording artist.
“While the boho scene has never completely disappeared from L.A., Father Yod and the Source Family are enjoying a new era of notoriety, inspiring indie-folk musicians like Devendra Banhart and mega-producers like Rick Rubin. Aquarian’s book has become a style bible of sorts, with its dreamy images of the comely cult.”—T-Style, The New York Times It was 1972, time of the cult-occult-commune explosion. By day, the Source Family dressed in colorful robes and served organic cuisine to John Lennon, Julie Chistie, Frank Zappa, and many other celebrities at the famed Source restaurant. By night, in their mansion in the Hollywood Hills, they explored the cosmos with their spiritual leader, Father Yod.
Yod was an outlandish figure who had 14 wives, drove a Rolls-Royce, and fronted his own psychedelic rock band, Ya Ho Wa 13, now considered one of the most singular psychedelic bands of all time. He surprised many by suddenly morphing from health food restaurateur into mystical leader of what many considered a cult: a group of young people who lived strictly devoted to his esoteric teachings, unusual sexual practices, and philosophies of natural living and dying.
Still, as controversial as he was to outsiders, Father Yod was, by inside accounts, a deeply loving and spiritually powerful magus who taught his Family to recognize their divinity within and their innate connectedness to all of creation.
The Source Family’s astonishing and moving true story—kept secret for over 30 years after Father’s hang-gliding accident and death in 1975—is revealed here for the first time by the Family members themselves, offering readers an insider’s perspective into this vital utopian social experiment.
Illustrated with over 200 color and black and white period photographs, this book contains a bonus CD of never-before-heard Source Family music, interviews and changes, including an extremely rare recording of Ya Ho Wa 13 performing live at Beverly Hills High School in 1973.
"…a mesmerizing look at a time that might as well have been a thousand years in the past…I can't help but marvel that a spiritual movement of such idealism could ever have existed in our uber-materialistic world." — Ann Magnuson, PAPER Magazine
"The Source Family contributed a powerful chapter to our communal history, and having Isis Aquarian's empathetic recording of it enriches us all." — Timothy Miller, Author of America's Alternative Religions
As publisher of the satirical magazine OZ – the hippies’ handbook and monument to psychedelia – Richard Neville was at the centre of a cyclone of radicals, rock musicians, artists and hustlers. OZ was at the forefront of the ’60s underground movement, featuring articles by Germaine Greer, groundbreaking design by pop artist Martin Sharp and cartoons by Robert Crumb. When the magazine was tried for obscenity at the Old Bailey, John Lennon and Yoko Ono marched in protest and John Peel, George Melly and Edward de Bono were among its defendants.
Now updated to include a chapter on the legacy of flower power a generation later, Richard Neville demythologises the 1960s in this hilarious, colourful and provocative memoir of the times.
I want it to be revealing. I’ll talk about anything you like. I want it to be truthful. Let’s do it. There is no off-limits. I’m afraid of nothing.’ Immediately recognised as a young artist with a brilliant, sordid and uncompromising imagination, Damien Hirst is the most celebrated artist Britain has produced for generations. The undisputed leader and originator of the dominant movement in contemporary art on both sides of the Atlantic, he is now so ingrained in the public consciousness that even those with only a passing interest in art are familiar with his notorious shark and pickled sheep. Gordon Burn met Hirst for the first time nine years ago. Both admirers of David Sylvester’s interviews with Francis Bacon and Jan Wenner’s interviews with John Lennon, there was always an unspoken understanding between them that they would do something similar when the time was right. The resulting conversations in On the Way to Work are electrifyingly candid. True to the undertaking Hirst gave Burn, there is no off-limits: here are Hirst’s thoughts on celebrity, money, art, alcohol, sex, death, the North of England, class, crime and cocaine; his views on Marco Pierre White, Charles Saatchi, David Bowie, Gilbert and George and Lucian Freud. More than any other individual, Damien Hirst’s art and life came to define the nineties. Like the generation Hirst has come to represent, On the Way to Work is brave, unpredictable, scabrously funny and corrosively intelligent. It is also a how-to guide to becoming the most famous artist in the world.
Cofondateur et rÈdacteur en chef d’Oz, un des premiers magazines underground, l’Australien Richard Neville se retrouve ‡ Londres, au cúur du cyclone, durant les annÈes soixante. Hippie Hippie Shake retrace avec candeur et humour cette flamboyante ÈpopÈe. De Lenny Bruce ‡ John Lennon et Yoko Ono, en passant par Germaine Greer, Abbie Hoffman, Jerry Rubin, Robert Crumb, Mick Jagger, pete Townsend, Pink Floyd, John Peel, Tiny Tim, Jimi Hendrix, Eric Clapton ou Charles Shaar Murray, des rayons bariolÈs du magasin Biba aux light shows de l’UFO, du concert des Rolling Stones ‡ Hyde Park au festival de l’Óle de Wight, de Sydney ‡ Katmandou, de Londres ‡ Tanger, ce livre Èmouvant raconte les rÍves de toute une gÈnÈration et le combat acharnÈ d’une ” free press ” dÈcidÈe ‡ lutter contre toutes les censures de l’Èpoque. Une chronique haute en couleur, aux allures de roman picaresque, des swinging sixties.
When Richard Neville arrived in London in 1966, the first thing he did was visit Biba: ‘the famous boutique throbbed with The Animals, cash registers and skimpily clad women …the air was tinged with hash …I nearly fainted’. Five years later, Neville was sentenced to fifteen months for publishing an obscene article, “Schoolkids Oz”, and John Lennon joined the throngs of protestors singing his own composition “God Save Oz”. In the intervening years, as editor of “Oz”, the hippies’ handbook and a totem to psychedelia, Neville was at the centre of the Sixties youthquake, surrounded by rock musicians, intellectuals, artists, and fabulous freaks. It was the dawning of the Age of Aquarius …and then the hash hit the fan.
Film critic and experimental filmmaker Jonas Mekas has been a central figure in the New York avant-garde almost since arriving there from Lithuania soon after the end of World War II. He documented and was associated with the Fluxus movement, Warhol’s Factory, and the Living Theater, and as the founder of the Filmmaker’s Co-Op and Anthology Film Archives he has been a tireless and essential advocate of avant-garde film and performance. During all this time he has never been without his Bolex camera, which he has used to write a long, intimate film from which the photograms in Just Like a Shadow were extracted. As Mekas himself sees it: “The cinema is nothing but a photogram, one single photogram!” And indeed the cinematic quality of this collection is unmistakable. Journeying through Mekas’ story, we encounter a great many of Mekas’ fascinating friends, such as Andy Warhol, Nam June Paik, Robert Frank, the Kennedy family, Salvador Dali, Yoko Ono and John Lennon, Nico, Gerard Malanga, Allen Ginsberg, Henri Langlois, Stan Brakhage, Jack Kerouac, Lou Reed, Miles Davis, and many others, witnessing all those moments, happy or not, which he captured with his camera and his irreverent eye.
This magazine-sized volume on the nature of the group Fluxus, termed a “catalog,” contains two essays by recognized experts and 189 selected works illustrating 145 international neo-Dada intermedia objects, boxes, editions, artistic happenings, and musical performances orchestrated by Fluxus’s founding father, George Maciunas. From his 1961 founding of the group until his death in 1978, Maciunas conceived of this variable international association as a drastic alternative to crass, materialistic “high art” and the fame afforded egocentric artists. Everybody was declared his or her own artist, and works were developed and disseminated through exhibitions, publications, mass-produced objects, “products,” paper or boxed editions of cheap Fluxus items, photos, and films. Ironically, perhaps, many widely recognized artists did emerge from Fluxus (e.g., Yoko Ono, John Lennon, Nam June Paik), but none could match the “complex genius” of organizer Maciunas, who was “driven by a utopian vision of a new art and a new society.” Recommended for larger contemporary art collections, especially for the bibliography.?Mary Hamel-Schwulst, Towson State Univ., Md.
Copyright 1995 Reed Business Information, Inc.
Noted music producer and scholar Pat Thomas spent five years in Oakland, CA researching Listen, Whitey! The Sounds of Black Power 1965-1975. While befriending members of the Black Panther Party, Thomas discovered rare recordings of speeches, interviews, and music by noted activists Huey Newton, Bobby Seale, Eldridge Cleaver, Elaine Brown, The Lumpen and many others that form the framework of this definitive retrospective. Listen, Whitey! also chronicles the forgotten history of Motown Records.
From 1970 to 1973, Motown’s Black Power subsidiary label, Black Forum, released politically charged albums by Stokely Carmichael, Amiri Baraka, Langston Hughes, Bill Cosby & Ossie Davis, and many others, all represented. Also explored are the musical connections between Bob Dylan, John Lennon, Graham Nash, the Partridge Family (!?!) and the Black Power movement. Obscure recordings produced by SNCC, Ron Karenga’s US, the Tribe and other African-American sociopolitical organizations of the late 1960s and early ’70s are examined along with the Isley Brothers, Nina Simone, Archie Shepp, Art Ensemble of Chicago, Clifford Thornton, Watts Prophets, Last Poets, Gene McDaniels, Roland Kirk, Horace Silver, Angela Davis, H. Rap Brown, Stanley Crouch, and others that spoke out against oppression.
Other sections focus on Black Consciousness poetry (from the likes of Jayne Cortez, wife of Ornette Coleman), inspired religious recordings that infused god and Black Nationalism, obscure regional and privately pressed Black Power 7-inch soul singles from across America. 90,000 words of text are accompanied by over 250 large sized, full-color reproductions of album covers and 45 rpm singles ó most of which readers will have never seen before.
The dynamic relationship between rock music and visual art crosses continents, generations, and cultures. Beginning with Andy Warhol’s involvement with The Velvet Underground in 1967, artists have maintained a strong connection to rock. Artists such as Slater Bradley, Mike Kelley, and Raymond Pettibon have created album covers and music videos for rock bands, while rock musicians such as Bryan Ferry, John Lennon, and Peter Townsend have emerged from art schools, and punk and new wave bands such as Talking Heads and Sonic Youth have shared the same social and artistic milieu as artists including Robert Longo and Richard Prince. Sympathy for the Devil: Art and Rock and Roll Since 1967 looks at the intimate and inspired relationship between the visual arts and rock-and-roll culture, charting their intersection through works of art, album covers, music videos, and other materials. Organized regionally by cultural centers including London, New York, Los Angeles, and Cologne, the essays examine rock and roll’s style, celebrity, and identity politics in art; the experience, energy, and sense of devotion rock music inspires; and the dual role that many individuals play in both the sonic and visual realms. Presenting work that defies a more literal interpretation of the theme and instead suggests the style, energy, and attitude that has come to be associated with rock and roll, this fascinating volume is essential for admirers of contemporary art and culture.
Jonas Mekas has worked together with Andy Warhol, George Maciunas, John Lennon, and many others. In New York he was an influential figure in the New American Cinema, although he came to film-making relatively late. In 1944 Mekas and his younger brother Adolfas had to flee from the Nazis for copying leaflets. They were interned for eight months in a labour camp in Elmshorn. The Soviet occupation prevented him from returning to his native Lithuania after the war and, classed as a “displaced person”, he lived in DP camps in Wiesbaden and Kassel. Towards the end of 1949 he and his brother emigrated to New York. In his autobiography I Had Nowhere to Go he describes his survival in the camps and his arrival in New York. Mekas tells a universal story, that of an émigré who can never go back, whose loneliness in his new world is emblematic of human existence.
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