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A fully illustrated retrospective look at the long and influential career of a challenging avant-garde artist reviews forty years of Ono’s work, including films, music, and Conceptual art, and includes thought-provoking essays from respected scholars and a music CD.

Softcover. Number 3 in the “Holiday Graphics” series. Included in “The Japanese Photobook, 1912–1990” by Kaneko Ryuichi & Manfred Heiting

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.

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.

Hovering potentially between generosity and insult, seduction and trap, homage and defiance, the gift is a gesture with which relations are established and desires intertwined. In a world in which personal interactions are more and more sternly regulated, in which the symbolic value of things has been eroded, to reflect upon the work of art as a gift means to emphasize its ability to establish new types of relationships and encounters. Fifty artists, including Marina Abramovic, Vito Acconci, Louise Bourgeois, Clegg & Guttmann, Nan Goldin, Felix Gonzalez-Torres, Cai Guo-Qiang, Mona Hatoum, Alfredo Jaar, Joseph Kosuth, Piero Manzoni, Ana Mendieta, Yoko Ono and Gabriel Orozco, have fashioned gifts of object and self, gifts of one’s own body and of symbols, discreet and intrusive gifts, free handouts and exaggerated donations. In the spirit of giving, a bountiful range of philosophers, anthropologists, art critics and essayists offer their own musings on the idea of the gift.

Session Press is pleased to announce Taratine, the first US monograph by acclaimed Japanese photographer Daisuke Yokota. Highly regarded for his technical and aesthetic kinships with the avant-garde Mono-ha movement of the ‘60s and with Provoke-era masters such as Daido Moriyama and Takuma Nakahira, Taratine represents a new direction for Yokota, one that centers his work for the first time in another Japanese tradition, that of the confessional photographic I-novel. Comprised of photographs and a moving essay penned by Yokota, Taratine is his most personal work to date. Taratine brings together two bodies of new work—one from a road trip to Tohoku in 2007, and a second taken in Tokyo in 2014. The Tohoku photographs were inspired by Yokota happening upon an ancient ginkgo tree in the Aomori prefecture. Called “Taratine”, this tree has been worshipped by generations of women for its legendary fertility-enhancing properties. Yokota was reminded both of the Tohoku region’s traditional—and lingering—connection to the awe of natural spirits (the influence of Jomon-period animism) and of memories from his own childhood. From this experience came a photographic ode to those traditions and memories, one that also expresses his strong admiration for the important women in his life: his mother, in the case of the Aomori pictures; and his girlfriend, in the Tokyo pictures. By fusing the two together in Taratine, Yokota is charting a new direction for his work. As Marc Feustel observes in the afterword, “Unlike its predecessors, Taratine is driven by a more ambiguous and slippery set of emotions and sensations. A need for maternal love evolves into lust and desire. As much a book about sounds and smells as one of images—Taratine heightens all the senses as it breathes fresh air into a grand Japanese tradition.”

Drawing on avant-garde movements of the 1960s and 1970s as well as conceptual and sociological approaches in contemporary art, Collaborations examines diverse strategies of collective authorship in artmaking. The book also investigates how the collaborative models identified can be cultivated on a broader social level. Also highlighting examples from the 21st century, Collaborations calls into question the shifting dynamics of collaboration in the face of rapidly dissolving fundamental social structures. Artists include: Art & Language, Marina Abramovic & Ulay, Anna & Bernhard Johannes Blume, George Brecht, Phil Collins, Die Damen, Robert Filliou, Rimma & Valeriy Gerlovin, Gilbert & George, Richard Hamilton & Dieter Roth, Haus-Rucker-Co, Irwin, On Kawara, Alison Knowles, Louise Lawler, Lucy R. Lippard, George Maciunas, Ree Morton, Yoko Ono, Stephen Prina, Daniel Spoerri, Franz Erhard Walther and Wiener Gruppe.

I due volumi sono dedicati all’esperienza artistica de Lo Spazio di Via Lazzaro Palazzi. Tra la fine degli anni Ottanta e i primi anni Novanta, nel panorama dell’arte contemporanea milanese si formano gruppi di giovani artisti che scelgono di autogestirsi, organizzando le proprie mostre in luoghi inusuali. Uno di questi spazi ha sede in via Lazzaro Palazzi, nella zona di Porta Venezia. È il 1989 e il gruppo (composto da Mario Airò, Vincenzo Buonaguro, Matteo Donati, Stefano Dugnani, Giuseppina Mele, Chiyoko Miura, Liliana Moro, Andrea Rabbiosi, Bernhard Rüdiger, Antonello Ruggieri, Adriano Trovato, Massimo Uberti, Francesco Voltolina) decide di organizzare le proprie mostre e di invitare altri artisti a fare lo stesso in uno spazio autonomo e indipendente dal sistema delle gallerie. Ne Lo Spazio di Via Lazzaro Palazzi ogni artista agisce come singolo ed è allo stesso tempo parte di una comunità di pari con cui dialogare e confrontarsi. Sebbene la (voluta) transitorietà di opere e mostre abbia dato luogo a forme di documentazione non sempre ordinate né programmate, con l’aiuto degli artisti si è potuto recentemente mettere insieme un archivio collettivo che conserva la memoria delle attività dello Spazio e che, grazie a una donazione, è ora parte delle collezioni del Museo del Novecento di Milano. I due volumi valorizzano questo materiale contestualizzandolo storicamente e criticamente. Il primo volume L’archivio in divenire. Lo Spazio di Via Lazzaro Palazzi al Museo del Novecento contiene testi (di Cristina Baldacci, Giulia Kimberly Colombo, Iolanda Ratti, Angela Vettese e degli artisti del gruppo) e immagini, mentre il secondo propone per la prima volta la ristampa dei nove numeri di «tiracorrendo», rivista autogestita dello Spazio, uscita tra il 1989 e il 1993.

Editorial: “Contre l’Artiste.” The first line reads: “D’abord une évidence – d’ordre simplement esthétique: la fin de l’objet comme porteur de la proposition de l’artiste” (First and foremost, from an aesthetic point of view, the object is no longer the bearer of the artist’s intent); A text by Yoko Ono: “A propos du Film No 4″ (1967); Photos of Christo’s early works: Kassel “Emballage d’air” (Wrapping Air) and Berne “Emballage d’un lieu culturel” (Wrapping a Cultural Place); Daniel Buren’s “Proposition didactique” for the Salon de Mai (1968); A special feature on Lygia Clark; A report on “Les Diggers” in New York with their banner “Respirer est mauvais pour votre santé” (Breathing is bad for your health).

Exhibition catalogue published in conjunction with show held November 19, 1970 – January 3, 1971. Introduction by Janet Daley. Texts by Karl Gerstner, Reyner Banham, Jiddu Krishnamurti, Anthony Wedgwood Benn and John Berger. Artists include Jean Arp, Thomas Bayrle, Joseph Beuys, George Brecht, Marcel Broodthaers, Lygia Clark, Hélio Oiticica, Robert Filliou, Ian Hamilton Finlay, Eva Hesse, Steven Kaltenbach, George Maciunas, Bruce Nauman, Yoko Ono, Keith Sonnier, Richard Serra, Alan Sarat and many others. Includes illustrated exhibition checklist and an index of lenders to the exhibition. Catalogue incorporates Beuys’ edition “I The Chief, II How to Explain Paintings to a Dead Hare,” 1970, and “Curriculum vitae and list of works,” 1964/70, documented as ‘The artist has authorized publication here of his ‘official’ biography as an original printed multiple work of art” on pages 19 -21 of this publication.

Timely and wide-ranging, this volume explores in-depth the theme of destruction in international contemporary art. While destruction as a theme can be traced throughout art history, from the early atomic age it has remained a pervasive and compelling element of contemporary visual culture. Damage Control features the work of more than 40 international artists working in a range of media—painting, sculpture, photography, film, installation, and performance—who have used destruction as a means of responding to their historical moment and as a strategy for inciting spectacle and catharsis, as a form of rebellion and protest, or as an essential part of re-creation and restoration. Including works by such diverse artists as Jean Tinguely, Andy Warhol, Bruce Conner, Yoko Ono, Gordon Matta-Clark, Pipilotti Rist, Yoshitomo Nara, and Laurel Nakadate, the book reaches beyond art to enable a broader understanding of culture and society in the aftermath of World War II, under the looming fear of annihilation in the atomic age, and in the age of terrorism and other disasters, real and imagined.

The book features all 153 original posters created by the 127 artists invited to participate in It’s Urgent!, an open-form touring exhibition. Artists from all over the world responded to Hans Ulrich Obrist’s invitation to address the most pressing themes of our times―ecology, inequality, common future, solidarity, anti-racism and social justice. It’s Urgent! aims to make the artists’ ideas open up to new audiences and insert them into public life and the community at large. Artists include: Etel Adnan, Tania Bruguera, Olafur Eliasson, Hans Haacke, Wolfgang Tillmans, Rirkrit Tiravanija, David Adjaye, Mark Bradford, Judy Chicago, Douglas Coupland, Jimmie Durham, Formafantasma, Cao Fei, Fernando Garcia-Dory, Liam Gillick, Renée Green, Newton Harrison, Luchita Hurtado, Pierre Huyghe, Koo Jeong A, Josh Kline, Suzanne Lacy, Yoko Ono, Trevor Paglen, Raymond Pettibon, Raqs Media Collective, Peter Saville, Stephen Shore, Lawrence Weiner and Stanley Whitney.

One of the most influential photographers of our time, Nobuyoshi Araki is known for his diaristic style or “shi-shashin” (I-photographs) through the publication of over 500 books throughout his career. His work has become practically synonymous with Japanese photography; closely associated with his work on bondage, his late wife, Yoko, as well as still lifes and nudes. It is, however, less known that Araki had explored experimental film projects since the mid 80s. In 1986 at Cinema Rise in Tokyo, Araki staged a live performance entitled Tokyo Monogatari (Tokyo Story). Using two projectors, Araki and his assistants, Nobuhiko Ansai and Shiro Tamiya, selected and sequenced slides to create a succession of overlapping images fading into one another, accompanied by a musical soundtrack. Tokyo Monogatari became the first in a series of live performances entitled Arakinema, which he staged until the mid-2000s in museums and art institutions around the world. Blue Period and Last Summer are made up primarily of nudes and portraits alternating with street scenes and images of flowers. The majority of the work is derived from Shashin Jidai, the important underground sub culture magazine of the 1980s in Japan. We especially feel excited about our publication since these two projects are essential among his film work. As Araki also explained at our initial meeting in Shinjuku last year, “The two films should be seen as a set, since Blue Period is about the past and Last Summer is about the future. By removing color using a chemical solution, Blue Period is about an act of subtraction (past), whereas adding color to the images in Last Summer is about an act of addition (future). This project is just like life itself.” Working directly from the 140 original slides used for both projections, the book successfully offers a fresh review of the photographer’s hidden oeuvre and regains the true spirit and atmosphere of the original Arakinema performances.D

I territori rurali, remoti e selvaggi che chiamiamo “campagna” costituiscono il 98% della superficie terrestre non occupata dalle città, nonché il fronte su cui si scontrano le forze più potenti del presente, come la devastazione climatica ed ecologica, le migrazioni, la tecnologia, le oscillazioni demografiche. Sempre più sottomessi a un regime “cartesiano” (reticolati, meccanizzati e ottimizzati per massimizzare la produzione), questi luoghi stanno cambiando, diventando irriconoscibili. Nella sua ultima pubblicazione, Rem Koolhaas indaga sulle rapide e spesso nascoste trasformazioni in corso nelle vaste aree non urbanizzate di tutta la Terra. Countryside, A Report raccoglie in una sorta di diario di viaggio l’esplorazione di territori segnati da forze globali ed esperimenti ai margini della nostra coscienza: un sito di prova vicino a Fukushima, dove vengono testati i robot incaricati della manutenzione delle infrastrutture e dell’agricoltura in Giappone; una città-serra nei Parsi bassi che potrebbe essere all’origine della moderna cosmologia di campagna; il permafrost in rapido scioglimento della Siberia centrale, una regione che combatte con l’eventualità dello sfollamento; i rifugiati che hanno ripopolato alcuni paesini morenti della campagna tedesca, incontrandosi con gli attivisti contro il cambiamento climatico; gorilla di montagna adattati che affrontano gli uomini nel “loro” territorio in Uganda; il Midwest americano, dove le operazioni agricole su scala industriale sono alle prese con l’agricoltura rigenerativa; e i villaggi cinesi trasformati in officine, negozi di e-commerce e centri di distribuzione tutto in uno. Questo volume è la guida ufficiale alla mostra del Guggenheim Museum Countryside, The Future. Libro ed esposizione inaugurano una nuova area di ricerca per l’architetto e urbanista Rem Koolhaas, che ha iniziato la sua carriera con soggetti urbano-centrici: The Office for Metropolitan Architecture (1975) e Delirious New York (1978). Il libro è progettato da Irma Boom, che ha tratto ispirazione per il formato tascabile, nonché per la tipografia e il layout innovativi, dalle sue ricerche presso la Biblioteca vaticana. Questo volume è frutto delle ricerche sinergiche di AMO e Koolhaas, nonché di studenti della Harvard Graduate School of Design, dell’Accademia Centrale delle Belle Arti di Pechino, dell’Università di Wageningen, Paesi Bassi, e dell’Università di Nairobi. Con contributi di Samir Bantal, Janna Bystrykh, Troy Conrad Therrien, Lenora Ditzler, Clemens Driessen, Alexandra Kharitonova, Keigo Kobayashi, Niklas Maak, Etta Madete, Federico Martelli, Ingo Niermann, Dr. Linda Nkatha Gichuyia, Kayoko Ota, Stephan Petermann e Anne M. Schneider.

In August 1960, Anna Halprin taught an experimental workshop attended by Simone Forti and Yvonne Rainer (along with Trisha Brown and other soon-to-be important artists) on her dance deck on the slopes of Mount Tamalpais, north of San Francisco. Within two years, Forti’s conceptually forceful Dance Constructions had premiered in Yoko Ono’s loft and Rainer had cofounded the groundbreaking Judson Dance Theater. Radical Bodies reunites Halprin, Forti, and Rainer for the first time inmore than fifty-five years. Dance was a fundamental part of the art world in the 1960s, the most volatile decade in American art, offering a radical image of bodily presence in a moment of revolutionary change. Halprin, Forti, and Rainer—all with Jewish roots—found themselves at the epicenter of this upheaval. Each, in her own tenacious, humorous, and critical way, created a radicalized vision for dance, dance making, and, ultimately, for music and the visual arts. Placing the body and performance at the center of debate, each developed corporeal languages and methodologies that continue to influence choreographers and visual artists around the world to the present day, enabling a critical practice that reinserts social and political issues into postmodern dance and art.

Memoir by the avant-garde dancer, choreographer, and filmmaker recounting her childhood years, sexual misadventures, and artistic explorations.

If you’re interested in Plato, you’re reading the wrong book. If you’re interested in difficult childhoods, sexual misadventures, aesthetics, cultural history, and the reasons that a club sandwich and other meals―including breakfast―have remained in the memory of the present writer, keep reading.
―from Feelings Are Facts

In this memoir, dancer, choreographer, and filmmaker Yvonne Rainer traces her personal and artistic coming of age. Feelings Are Facts (the title comes from a dictum by Rainer’s one-time psychotherapist) uses diary entries, letters, program notes, excerpts from film scripts, snapshots, and film-frame enlargements to present a vivid portrait of an extraordinary artist and woman in postwar America.

Rainer tells of a California childhood in which she was farmed out by her parents to foster families and orphanages, of sexual and intellectual initiations in San Francisco and Berkeley, and of artistic discoveries and accomplishments in the New York City dance world. Rainer studied with Martha Graham and Merce Cunningham in the late 1950s and early 1960s, cofounded the Judson Dance Theater in 1962, hobnobbed with New York artists including Robert Rauschenberg, Robert Morris (her lover and partner for several years), and Yoko Ono, and became involved with feminist and antiwar causes in the 1970s and 1980s. Rainer writes about how she constructed her dances―including The Mind Is a Muscle and its famous section, Trio A, as well as the recent After Many a Summer Dies the Swan―and about turning from dance to film and back to dance. And she writes about meeting her longtime partner Martha Gever and discovering the pleasures of domestic life.

An Intriguing and Diverse Survey of Some of the Most ImportantArtists of the Century; New Affordable Format.As part of its critically-acclaimed “Themes and Movements” series, PhaidonPress is pleased to announce the new edition of THE ARTIST’S BODY, acompelling look at the artists’ use of self and body as object and subjectin their work, a movement that represents the state of contemporary art andmakes a wider comment on the human condition.Bound or beaten naked orpainted, still or spasmodic: the artist lives his or her art publicly inperformance or privately in video and photography.Amelia Jones’ surveyexamines the most significant works in the context of social history andTracey Warr’s selection of documents combines writings by artists, criticsand philosophers.Beginning with such key artists as Marcel Duchamp and Jackson Pollock, thisbook examines a selection of the most significant players who have usedtheir bodies to create their art – among them, in the 1960s CaroleeSchneemann, Rudolf Schwarzkogler, Yoko Ono; in the 1970s, Chris Burden, AnaMendieta, Vito Acconci, Marina Abramovic; up to the turn of the millennium,Matthew Barney, Mac Quinn, Tracey Emin and Mona Hatoum.In the survey, Amelia Jones, among the world experts in the field,discusses performance and body art against the background of socialhistory.She examines the breakdown of barriers between art and life,visual and sensual experience – how artists have expanded and renewed theage-old tradition of self-portraiture, moving art out of the gallery intounexpected spaces and media. Each image is accompanied by an extendedcaption. The works are organized thematically.* Painting Bodies, concerns work that shows the trace, stain or imprintof the artist’s body in response to the paint-on-canvas tradition. * Gesturing Bodies, examines artists who transform the body – its acts,its gesture – into art, gesture, behavior and situations are used in placeof art objects.* Ritualistic and Transgressive Bodies, looks at work which uses thebody to enact challenges to the social expectations of the body, often inrituals that perform a cathartic function.Mutilation and sacrifice areused to rupture personal and social homogeneity. * Body Boundaries, examines boundaries between the individual body andthe social environment and between the inside and outside of the bodyitself. * Performing Identity, looks at issues of representation and identity. * Absent Bodies, explores absence and the mortality of the body throughphotography, casting, imprints or remnants of the body.* In Extended and Prosthetic Bodies, the body is extended throughprosthetics or technology, to explore cyberspace and alternative states ofconsciousness.Parallel to the illustrated works of art, this section combines texts bycritics who shaped the movement, from Lucy R. Lippard to Thomas McEvilley. Alongside these writings by philosophers and thinkers such as GeorgeBataille and Gilles Deleuze who have contributed on a theoretical level tothe discussion around the body – a prevalent theme in twentieth-centurycultural theory.THE ARTIST’S BODY is a powerful and poignant look at an increasinglysignificant movement and art form.This book is an essential referencethat examines some of the most cutting edge and innovative artists of ourtime.This new affordable edition is perfect for students of theater andart as well as anyone with an interest in contemporary art.

Curated by Hans Ulrich Obrist, Do It began in Paris in 1993 as a conversation between the artists Christian Boltanski and Bertrand Lavier and Obrist himself, who was experimenting with how exhibition formats could be rendered more flexible and open-ended. The discussion led to the question of whether a show could take “scores” or written instructions by artists as a point of departure, which could be interpreted anew each time they were enacted. To test the idea, Obrist invited 13 artists to send instructions, which were then translated into nine different languages and circulated internationally as a book. Within two years, Do It exhibitions were being created all over the world by realizing the artists’ instructions. With every version of the exhibition new instructions were added, so that today more than 300 artists have contributed to the project. Constantly evolving and morphing into different versions of itself, Do It has grown to encompass “Do It (Museum),” “Do It (Home),” “Do It (TV),” “Do It (Seminar)” as well as some “Anti-Do Its”, a “Philosophy Do It” and, most recently, a “UNESCO Children’s Do It.” Nearly 20 years after the initial conversation took place, Do It has been featured in at least 50 different locations worldwide. To mark the twentieth anniversary of this landmark project, this new publication presents the history of this ambitious enterprise and gives new impetus to its future. It includes an archive of artists’ instructions, essays contextualizing Do It, documentation from the history of the exhibition and instructions by 200 artists from all over the world selected by Obrist, among them Carl Andre, Jimmie Durham, Dan Graham, Yoko Ono, Christian Marclay and Rosemarie Trockel, including 60 new instructions from Matias Faldbakken, Theaster Gates, Sarah Lucas, David Lynch, Rivane Neuenschwander and Ai Weiwei, among many others.