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.”

001 catalogues 256 t-shirts selected from the archives of Tokyo-based cult collectors Weber. It is an overtly utilitarian book object destined to compare, reference and reflect on the archive of cultural artefacts. 0001 remains faithful to the ambitions of its authors to celebrate the unassuming yet historically resonant status of the vintage t-shirts. A veritable blank canvas, the t-shirt proves an accommodating (and democratising) vessel for slogans, signs and symbols from commercial brands, anti-establishment practices, and cult movies alike. Within this curated collection we encounter an array of characters including Bruce Weber, Barbara Kruger, Andy Warhol, Yoko Ono, Raymond Pettibon, Eames Office, Calvin Klein, Tommy Hilfiger, Emporio Armani, Jean Paul Gaultier, Stussy, all pasted on the front of tshirts. Oscillating between tribute and parody, 0001 toys with the notion of the vintage t-shirt as akin to a Duchampian ready-made, a found object whose meaning shifts when viewed in a different context. This context, that of a catalogue, invites the reader to reconsider the socio-cultural worth of the t-shirt and its role within the visual culture of the contemporary. The cover is specified in a triptych of colour combinations produced in a unique book-form somewhere between a catalogue, manual and folder. Through its seriality, idiosyncrasy and self-awareness ‘0001’ renders the aspect of choice within the context of mass-production visible, and ultimately creates an object that is overtly playful. 0001 is a tome at 552 pages; printed on a bulky off-white paper predominantly monotone with full colour tipped-in sections accompanied by texts in English and Japanese by Hitoshi Ikeda, Kunichi Nomura, Ryo Todoroki, Sarah Andelman and Kazuki Hatanaka.

Eric Andersen, Ay-o, Joseph Beuys, George Brecht, Giuseppe Chiari, Philip Corner, Jean Dupuy, Robert Filliou, Henry Flynt, Ken Friedman, Al Hansen, Geoffrey Hendricks, Dick Higgins, Joe Jones, Milan Knizac, Alison Knowles, Arthur Koepke, George Maciunas, Jackson Mac Low, Larry Miller, Charlotte Moorman, Yoko Ono, Robin Page, Nam June Paik, Ben Patterson, Takako Saito, Carolee Schneemann, Daniel Spoerri, Serge III, Ben Vautier, Wolf Vostell, Bob Watts, Emmett Williams, LaMonte Young: ecco i protagonisti della bella mostra che Villa Croce inaugura il 14 febbraio alle 18.00. “The Fluxus Constellation” è il ritratto composito dell’espressione di un gruppo geniale ed eterogeneo di identità creative, una ‘costellazione’ più che una corrente artistica vera e propria, un esempio di comunicazione e sinergia tra persone capaci di sviluppare ricerche personali e insieme creare con autori contemporanei affini un dialogo ricco e fertile. Emergono infatti figure prepotentemente riconoscibili, la cui espressione artistica è assolutamente originale ma vicina a Fluxus per l’atmosfera e l’ambito concettuale, come per esempio Daniel Spoerri. Visitando la mostra in allestimento insieme alla curatrice Sandra Solimano, appare difficile a prima vista riconoscere un fil rouge, perché gli esiti creativi degli artisti Fluxus sono molti e molto differenti: è difficile citarne solo alcuni, dai “Guerrieri della notte” di Daniel Spoerri esposti insieme ad un grande tableau piège a raccontare due momenti diversi della sua ricerca alle inquietanti operazioni rituali dello ‘sciamano’ Joseph Beuys, dalla torre tattile fingerbox di Ay-o alla straordinaria musica per città di Giuseppe Chiari, che immagina un dialogo incantato tra persiane che sbattono, automobili che suonano lamiere appoggiate per terra, giganteschi violini con la cassa di risonanza nella botola delle fogne. Le affascinanti opere concettuali di George Brecht convivono nelle sale di Villa Croce con il poetico “cielo genovese” creato da Geoffrey Hendricks con acquerello e lastre d’ardesia a tracciare il confine tra la terra e il volo, con il rarefatto, ludico alfabeto di Emmett Williams, con le epifanie fermate nel tempo dalle patetiche, intense collezioni di Alison Knowles (che sembrano regalare una dimensione più ‘umana’, morbida e malinconica agli armadi di Louise Nevelson), con la bella installazione stellata che Eric Andersen ha donato al museo, con lo struggente “Four spoons” di Yoko Ono, che alla morte di John Lennon ha strappato alla piccola scultura un cucchiaio, del quale rimane l’impronta lucente e lieve come un’anima. Accostando questi lavori, in molti casi degli anni Sessanta, alla produzione di oggi si è tentati di chiedersi cosa resti da inventare. Gli artisti Fluxus si muovono su un terreno d’arte totale, dove le distinzioni tra discipline si rivelano confini posticci e superflui: la musica, la poesia, la pittura, la scultura, la performance e l’happening sono medium, sfaccettature di un tutto caleidoscopico e costantemente in fieri. Ma cos’è Fluxus? Esiste ancora o si è esaurito con la scomparsa di George Maciunas, ispiratore e teorizzatore del movimento? Ben Vautier, che di Fluxus è uno dei protagonisti più importanti, risponde con una grande installazione realizzata appositamente per Villa Croce, che rimarrà parte della collezione del museo: con l’ironia anarchica che lo caratterizza, scrive su una parete coloratissime, contraddittorie sentenze – in inglese, per dispetto agli amici artisti anglofoni. Scrive: “Qualcuno dice che Fluxus è niente trasformato in qualcosa. Qualcuno dice che il problema di Fluxus è come smettere di parlare di Fluxus. Qualcuno dice che Fluxus è un errore che funziona. Qualcuno dice che Fluxus non esiste. Qualcuno dice che Fluxus è dappertutto” e così via. Certo è che Fluxus sa coagulare intorno ad un’idea geniale altre idee geniali, in un’operazione che sembra un’irridente manifesto all’incoerenza ma è invece un’opera globale, complessa e tentacolare come la realtà che viviamo (ed è davvero una combinazione bizzarra che la mostra inizi nel bel mezzo della telenovela Vrubel’, che somiglia così tanto ad una grande performance Fluxus!). Sono molte le gallerie genovesi che partecipano alla ‘costellazione’: il 13 febbraio Il Vicolo presenta “Multifluxus”, Ellequadro documenti “Foto reportage” e Joyce & CO. “Happy Birthday, Fluxus!”, mentre il Ristorante Barakà propone un “Fluxus Dinner” solo su invito. Il 15 febbraio alle 21.00, lo Studio Leonardi V-Idea inaugura una personale di Giuseppe Chiari; il 16 febbraio alle 21.00 l’Archivio Caterina Gualco inaugura una personale di Ben Vautier. Un’offerta straordinariamente ricca ed articolata, completata dalle performance che avranno luogo a Villa Croce il 15 e 16 febbraio a partire dalle ore 17,30, alle quali prenderanno parte Eric Andersen, Giuseppe Chiari, Philip Corner, Geoffrey Hendricks, Alison Knowles, Larry Miller, Ben Patterson, Ben Vautier ed Emmett Williams, ed un’occasione per avvicinarsi ai grandi temi dell’arte contemporanea in un’atmosfera carica di umorismo e fantasia.

Il libro raccoglie una nutrita selezione di corrispondenza ricevuta da Maurizio Nannucci dagli anni Sessanta a oggi. Sono centinaia di cartoline, lettere e telegrammi dei numerosi artisti con i quali l’artista è entrato in contatto nel tempo. Vengono qui pubblicati solo gli invii postali, escludendo la sua sterminata corrispondenza di fax ed email degli anni Duemila. I primi documenti, dal telegramma di Giacometti del 1963 alle lettere di Emilio Vedova dello stesso anno, erano legati ad articoli che Nannucci pubblicava su alcune riviste d’arte, proponendo il lavoro di maestri delle generazioni precedenti, una sorta di hommage ad alcune figure di riferimento. In seguito, negli anni Settanta, lo scambio epistolare divenne per Nannucci lo strumento principe per partecipare e promuovere un network indipendente tra artisti che condividevano con lui un nuovo approccio per una pratica d’arte antiaccademica e sperimentale. Questa intensa circolazione di idee e opere è stata per Nannucci l’opportunità per la creazione di artist-run spaces, per l’organizzazione di mostre e di progetti editoriali, come per la pubblicazione di libri d’artista, riviste, multipli e antologie sonore, attorno alle quali raccolse un numero rilevante di contributi di artisti dell’avanguardia internazionale, da Ed Ruscha a John Cage e John Baldessari, da Giulio Paolini e Alighiero Boetti a Maurizio Cattelan… Ma con alcuni artisti, come Michael Snow, Hans Peter Feldmann, Eugen Gomringer, Yoko Ono, John Giorno, Robert Barry, Herman de Vries, Henri Chopin, Ben Vautier, Dieter Roth, Robert Lax, Dorothy Iannone, Maurizio Mochetti, Richard Long, Franco Vaccari, Niele Toroni, Ulises Carriòn, Augusto de Campos, Markus Raetz, Antoni Muntadas, intrecciò scambi costanti che lo portarono a continui rapporti di collaborazione. Con altri, come Robert Filliou, Ian Hamilton Finlay, Sol LeWitt, James Lee Byars, Lawrence Weiner, John Armleder, AA Bronson, Rirkrit Tiravanija, Jonathan Monk, diede vita a veri e propri sodalizi. L’importanza dei materiali raccolti sta nella loro capacità di raccontare in presa diretta le diverse stagioni dell’arte del secondo Novecento fino a oggi: dalla Poesia Concreta alla musica elettronica, dal movimento Fluxus all’Arte Concettuale e Minimal… agli anni Duemila. Le lettere e le cartoline, lette insieme, restituiscono quel particolare sentimento della contemporaneità di cui Maurizio Nannucci si è nutrito nel tempo e che lo ha portato a essere parte della più allargata delle comunità artistiche, a credere nel valore sociale e comunicativo dell’arte, nella continua sperimentazione interdisciplinare, nelle forme di creatività diffusa con cui superare ogni categorizzazione e ogni possibile limitazione del proprio campo espressivo. La bellezza di questi materiali sta nella loro incredibile fisicità, nel fascino delle grafie, nel piglio delle espressioni e delle frasi veloci, e soprattutto nel loro essere, in molti casi, esempi della più lieve e della più libera delle forme d’arte, fatta di carte veline colorate, di piccoli disegni, di inchiostri inusuali, di francobolli e cartoline disegnate dagli artisti stessi o di immagini scelte con umorismo o forza evocativa tra le cartoline turistiche. Sono oggetti unici che formano una collezione intessuta dello spirito dei tempi, fatta di complicità e di amicizie, di idee, progetti, utopie, aspirazioni, curiosità. Sono documenti e sono opere da cui emana una grande energia umana, nutrita di senso della meraviglia.

Frutto della collaborazione tra l’Accademia di Belle Arti di Brera (Milano) e la Fondazione Bonotto (Colceresa), questo libro raccoglie, per la prima volta in una monografia in lingua italiana, una significativa selezione di testi, pubblici e privati, di George Maciunas (1931-1978), iniziatore del celebre movimento Fluxus. La selezione – a cura di Patrizio Peterlini e Angela Sanna – comprende manifesti, newsletter, testi teorici, event scores, opere, lettere, scritti relativi al progetto Fluxhouse Cooperatives e si conclude con l’intervista di Charles Dreyfus Pechkoff. Elaborate fra il 1962 e il 1978, ossia tra la pubblicazione del primo manifesto Fluxus e la scomparsa dell’autore, queste pagine evidenziano gli aspetti fondanti del movimento, di cui Maciunas rivendicò inutilmente la paternità, oltre all’impegno assiduo da lui profuso a organizzarlo, promuoverlo, animarlo. Con altrettanto impegno e fervore Maciunas, fin da giovane, si consacrò alla scrittura, lasciando emergere una personalità colta, complessa, ironica, anticonformista. Incontriamo qui Walter De Maria, Dick Higgins, La Monte Young, Larry Miller, Nam June Paik, Yoko Ono e moltissimi altri artisti e musicisti con cui Maciunas ebbe rapporti intensi, di collaborazione e di amicizia. Fondamentale inoltre fu l’importanza che ebbe per lui l’Italia, come molti scritti qui raccolti testimoniano.

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.

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).

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

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.

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.

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.

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.

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.

  • Collects some of the most visually stunning and evocative album covers from the 20th Century
  • Features homages to numerous important designers and artists, such as Damien Hirst, Yoko Ono and Raymond Pettibon

Up until the 1940s, records were sold in plain, uniform jackets. In the post-war years, musicians and record companies discovered that graphically designed record covers had the potential to boost sales. Significantly, in the 1960s contemporary artists began to create record jackets that became an inspiration for others on account of their radical, groundbreaking designs. Many of them have become symbols recognized not only by fans but by the wider public, symbols of an era where artistic freedom, experimentation, and innovation were encouraged.This book is the first-ever comprehensive introduction to these resplendent album covers. They have been taken from the extensive archive of the Dutch designer Jan van Toorn, one of the most active collectors and a leading expert in the field. The book includes surrealist designs by Salvador Dalí; covers by famous pop artists such as Andy Warhol, Roy Lichtenstein, Robert Rauschenberg and Jean-Michel Basquiat; works by the Vienna-based group 'Wiener Aktionismus'; and contemporary designs by Jeff Koons, Damien Hirst, Banksy, and Ai Weiwei. Special importance is given to the designs from the circle of Fluxus artists, a radical sixties group who often produced music during their multimedia performances. The Fluxus artists frequently published their artwork on records, as did John Cage and Yoko Ono. Another focus of the book is Raymond Pettibon, who shot to fame when his legendary cover for the punk band Black Flag exploded into the record stores.Full of famous names and artists deserving of greater recognition, this book is the perfect gift for any vinyl-lover.

This book presents 123 calling cards of artists (painters, sculptors, photographers, architects, graphic designers, illustrators etc.) from the 18th century to the present day. The facsimiled cards are slipped like bookmarks into a book by several authors on the history of the use of calling cards, the social context in which they were produced, and related historical and fictional narratives. The often unexpected graphic qualities of these personalized objects, each designed to capture an individual identity within the narrow confines of a tiny rectangle card, implicitly recount a history of taste and typographic codes in the West. But this calling card collection also lays the foundations for a microhistory of art, inspired by the Italian microstoria, or a looser narrative that breaks free from geographic contexts and historical periods. We can imagine how social networks were formed before the advent of Facebook, and how artists defined themselves in the social sphere, whether they were students or teachers, dean of the art school or museum curator, founder of a journal, firm, restaurant or political party, and so on. Superimposed on this imaginary or idealized network formed by chance encounters is a living network of students of art or history, historians or anthropologists, librarians, archivists, gallerists, museum curators and artists themselves, the network upon which this pocket museum is constructed. The sheer variety of perspectives and stories brought together here makes this book a prodigious forum for discussion. The carded artists include: Absalon, Anni and Josef Albers, John Armleder, Iain Baxter, Larry Bell, Joseph Beuys, Joseph Binder, Max Bill, Pierrette Bloch, Rosa Bonheur, Irma Boom, Aglaüs Bouvenne, Constantin Brancusi, Marcel Broodthaers, Antonio Canova, Caran d’Ache, A.M. Cassandre, Chenue malletier, Iris Clert, Claude Closky, Le Corbusier, Silvie Défraoui, Sonia Delaunay, Fortunato Depero, Marcel Duchamp, A.R. Dunton, Céline Duval, Nathalie Du Pasquier, Yan Duyvendak, Daniel Eatock, Edward Fella, Sylvie Fleury, Schwestern Flöge, Piero Fornasetti, Hans Frank, Lene Frank, Emile Gallé, General Idea, Dan Graham, Wolfgang von Gœthe, Jean-Baptiste Greuze, Walter Gropius, Guerrilla Girls, Hector Guimard, Friedrich Haeffcke, Raymond Hains, Keith Haring, Raoul Hausmann, John Heartfield, Anton Herrgesell, Jean-Auguste-Dominique Ingres, Ray Johnson, Ana Jotta, Wassily Kandinsky, André Kertész, Martin Kippenberger, Paul Klee, Johann Adam Klein, Yves Klein, Július Koller, Joseph Kosuth, Yayoi Kusama, Carl Gotthard Langhans, Fernand Léger, Pierre Leguillon, George Maciunas, Robert Mallet-Stevens, Edouard Manet, Piero Manzoni, Christian Marclay, Filippo Tommaso Marinetti, Karel Martens, Annette Messager, Lucia Moholy, Piet Mondrian, Valérie Mréjen, Félix Nadar, Isamu Noguchi, The Offices of Jenny Holzer, Peter Nadin, Richard Prince and al., Yoko Ono, Claes Oldenburg, Nam June Paik, Francis Picabia, Adrian Piper, Emil Pirchan, Man Ray, Les ready made appartiennent à tout le monde®, Carl August Reinhardt, Gerrit Rietveld, Auguste Rodin, Edward Ruscha, Alexander Search, Willem Sandberg, Erik Satie, Gino Severini, Johan Gottfried Schadow, Egon Schiele, Oskar Schlemmer, Käthe Schmidt, Roman Signer, Alec Soth, Gertrude Stein and Alice Toklas, Jack Smith, Hélène Smith, Harald Szeemann, Sophie Taeuber, Karel Teige, Oliviero Toscani, Theo van Doesburg, Roman Vishniac, Andy Warhol, Weegee, Neill Whistler, Heimo Zobernig, Piet Zwart, Emmy Zweybrück Prochaska With texts by: Samuel Adams, Damarice Amao, Daniel Baumann, Stuart Bertolotti-Bailey, Géraldine Beck, Paul Bernard, Christian Besson, Christianna Bonin, Véronique Borgeaud, Marie de Brugerolle, Garance Chabert, Kyrill Charbonnel, Yann Chateigné, Manuel Cirauqui, Chiara Costa, Caroline Coutau, Jean-Baptiste Delorme, Carla Demierre, Dakota DeVos, Corinne Diserens, Eva Fabbris, Patricia Falguières, Arthur Fink, Sophie Gayerie, Kati Gegenheimer, Mark Thomas Gibson, Nicolas Giraud, Victor Guégan, Andrea Gyorody, Nastassja Haidinger, Dean Inkster, Aurélie Jacquet, Elisabeth Jobin, Vincent Jolivet, Moritz Küng, Angela Lampe, Charlotte Laubard, Anaël Lejeune, Quentin Lannes, Pierre Leguillon, Charlotte Magnin, Nicole Marchand-Zañartu, Valérie Mavridorakis, Aurélien Mole, Michael J. Moore, Adrien Mouginot, Christiane Mühlegger, Émilie Parendeau, Ying Sze Pek, Corine Pencenat, Mathias Pfund, Fabien Pinaroli, Raphaël Pirenne, Paulo Pires do Vale, Carrie Pilto, Frans Postma, Jeanne Quéheillard, Fabienne Radi, Ivan Ristić, Vincent de Roguin, Paul-Louis Roubert, Margot Sanitas, Gilles Saussier, Elana Shapira, Klaus-Peter Speidel, Friedrich Tietjen, Rebecca Topakian, Gesine Tosin, Xiaoda Wang, Christophe Wavelet, David Zerbib, Célia Zuber.
Co-published by HEAD – Genève (Geneva University of Art and Design) and Edition Patrick Frey under the patronage of the Museum of Mistakes Editors: Pierre Leguillon in collaboration with Barbara Fédier and Kyrill Charbonnel, Pauline Cordier, Aurélie Jacquet, Aline Melaet, Anaïs Perez, and Charlotte Schaer, students of WorkMaster at HEAD – Genève

Ivor Davies is one of the foremost contemporary artists in Wales and a protagonist of Destruction in Art in the 1960s. As a major contributor to the 1966 Destruction in Art Symposium in London, Davies was at the centre of an international network of artists that included, among others, John Latham, Gustav Metzger and Yoko Ono. Illustrated with rare images from Davies personal archive, and with new essays by performance art scholars, this publication is the first comprehensive assessment of Davies oeuvre, charting the artists preoccupation with destruction across happenings, assemblages, drawings and paintings.

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.

Christophe von Hohenberg stumbled upon the beginnings of Andy Warhol’s Memorial Service at St. Patrick’s Cathedral on April 1, 1987. Now published for the first time on the eve of the 20th anniversary of the Pop legend’s death, von Hohenberg’s lens captured a veritable time capsule of the social swirl of the era that Warhol had such a hand in shaping.

Andy Warhol was the centrifuge of an artistic and social set that remixed the cocktail of café society to include everything from porn stars and princes, pop music stars and international society figures, movie stars and drag queens, and the dynamic cast of dozens of the eras major figures (many now deceased) that attended the memorial service of April 1, 1987. In addition to speakers Yoko Ono and Picasso biographer John Richardson, attendants included such major artists as David Hockney, Roy Lichtenstein, Keith Haring, Robert Mapplethorpe, Francesco Clemente and Julian Schnabel. Other personalities included Debbie Harry, Diane von Furstenberg, Bianca Jagger, Halston, Liza Minnelli, Paloma Picasso, George Plimpton, Ahmet Ertegun, Dominick Dunne, Henry Geldzahler, Claus von Bulow, Leo Castelli, Holly Solomon, Steven Sprouse and many others. The book is a vibrant record of one of the most exciting eras in New York’s cultural life from the swinging sixties through the increasingly edgy 1970s and up to the heady 1980s that was started in the haze of Studio 54 and ended with the ravages of AIDS. Andy Warhol: The Day The Factory Died is a fitting tribute to the Pop master whose seemingly soulless art was frequently tinged with the pathos of death.

The Art of Walking: A Field Guide is a unique look at walking as a mode of artistic practice and is the first book to explore this fascinating subject of how walking can be used as an artistic medium.

An introductory essay identifies breaks and continuities between walking artists now and the pedestrian activities of the historic- and neo-avant-gardes of the early- and mid-20th Century, respectively. Subsequent visually-led sections deal with recent art engaging with different types of walkers including pilgrims, peripatetic writers and philosophers, dandies, drifters, marchers, stalkers, tour guides and dog walkers.

Artists to be evaluated include Marina Abramovic and Ulay, Vito Acconci, Dennis Adams, Francis Alÿs, Keith Arnatt, Tim Brennan, Stanley Brouwn, Bruce Nauman, Sophie Calle, Janet Cardiff and George Bures Miller, Jeremy Deller, Simon Faithfull, Hamish Fulton, Regina José Galindo, Mona Hatoum, Akira Kanayama, Richard Long, The Long March Foundation, Melanie Manchot, Yoko Ono, Adrian Piper, Simon Pope and Kryzysztov Wodiczko.

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.

Founded in 1987 at the initiation of Kasper König, Portikus is Frankfurt’s hottest venue for contemporary art and has quickly become one of Germany’s leading venues, with an impressive roster of shows by artists such as On Kawara, Luc Tuymans and Franz West. In 2004 Portikus gained a new curator, Nikola Dietrich, a prominent presence on the European art scene. Dietrich has done much to further energize Portikus, and this volume presents a survey of the gallery’s last three years under her guidance. Dietrich has mounted more than 20 exhibitions with international artists, among them Koo Jeong-a, Felix Gmelin, Yoko Ono (in collaboration with students from the Städelschule), Olafur Eliasson, Matthew Ritchie, Chung Seoyoung, Sean Snyder, Mark Leckey, Marjetica Potrc, Tomas Saraceno, Dan Perjovschi, Francis Alÿs, John Baldessari, Daniel Buren and Maurizio Cattelan.

Artists: Eric Andersen Ay-0 Jeff Berner Joseph Beuys George Brecht John Chick Henning Christiansen Robert Filliou Albert M. Fine Henry Flynt Ken Friedman Karl Gerstner AI Hansen Bici Hendricks Geoffrey Hendricks Hi Red Center Dick Higgins Davi Det Hompson Alice Hutchins Jack Coke’s Farmer’s Co-op Joe Jones Per Kirkeby Jane Knizak Milan Knizak Alison Knowles Takehisa Kosugi Shigeko Kubota Carla Liss George Maciunas Larry Miller Olivier Mosset Claes Oldenburg Yoko Ono Nam June Paik Benjamin Patterson Jock Reynolds Willem de Ridder James Riddle Dieter Roth Takako Saito Tomas Schmit Carolee Schneemann Mieko (Chieko) Shiomi Gianni-Emilio Simonetti Daniel Spoerri André Thomkins Jan van der Marck Ben Vautier Wolf Vostell Yoshimasa Wada Robert Watts Emmett Williams La Monte Young

At just under 350 pages, this lavishly illustrated reader addresses the crossover between fashion and art. Featuring work by Daniele Buetti, Sylvie Fleury, Yoko Ono, Pipilotti Rist, Erwin Wurm and others, it includes a photographic prelude by Georg Gatsas and an insert by Walter Pfeiffer.

The chance situation or random eventówhether as a strategy or as a subject of investigationóhas been central to many artists’ practices across a multiplicity of forms, including expressionism, automatism, the readymade, collage, surrealist and conceptual photography, fluxus event scores, film, audio and video, performance, and participatory artworks. But whyóa century after Dada and Surrealism’s first systematic enquiriesódoes chance remain a key strategy in artists’ investigations into the contemporary world?

The writings in this anthology examine the gap between intention and outcome, showing it to be crucial to the meaning of chance in art. The book provides a new critical context for chance procedures in art since 1900 and aims to answer such questions as why artists deliberately set up such a gap in their practice; what new possibilities this suggests; and why the viewer finds the art so engaging.

Artists surveyed include: Vito Acconci, Bas Jan Ader, Francis Alys, William Anastasi, John Baldessari, Walead Beshty, Mark Boyle, George Brecht, Marcel Broodthaers, John Cage, Sophie Calle, Tacita Dean, Stan Douglas, Marcel Duchamp, Brian Eno, Fischli & Weiss, Ceal Floyer, Huang Yong Ping, Douglas Huebler, Allan Kaprow, Alison Knowles, Jiri Kovanda, Jorge Macchi, Christian Marclay, Cildo Meireles, Robert Morris, Bruce Nauman, Yoko Ono, Gabriel Orozco, Cornelia Parker, Robert Rauschenberg, Gerhard Richter, Daniel Spoerri, Wolfgang Tillmans, Keith Tyson, Jennifer West, Ceryth Wyn Evans, La Monte Young

Writers include: Paul Auster, Jacquelynn Baas, Georges Bataille, Daniel Birnbaum, Claire Bishop, Guy Brett, Benjamin H. D. Buchloh, Stanley Cavell, Lynne Cooke, Fei Dawei, Gilles Deleuze, Anna Dezeuze, Russell Ferguson, Branden W. Joseph, Siegfried Kracauer, Jacques Lacan, Susan Laxton, Sarat Maharaj, Midori Matsui, John Miller, Alexandra Munroe, Gabriel Perez Barreiro, Jasia Reichardt, Julia Robinson, Eric L. Santner, Sarah Valdez, Katharina Vossenkuhl

Documents of Contemporary Art series
Copublished with Whitechapel Gallery, London

Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples of artists certificates from the past fifty years, this book reveals how roles have shifted and developed, as well as how the materials and content of art have changed. With certificates by: Ruben Aubrecht, Judith Barry, Robert Barry/Stefan Brüggemann, Hemali Bhuta and Shreyas Karle, Pierre Bismuth, George Brecht, Marinus Boezem, Daniel Buren, Andre Caderé, Marcel Duchamp, Maria Eichhorn, Urs Fischer, Dan Flavin, Andrea Fraser, Liam Gillick, The Felix Gonzalez-Torres Foundation, Hans Haacke, Edward Kienholz, Yves Klein, Joseph Kosuth, Sol LeWitt, Ken Lum, Piero Manzoni, Gordon Matta-Clark, Josiah McElheny and Allan Kaprow, Jonathan Monk, Robert Morris, Antoni Muntadas, Yoko Ono, Cesare Pietroiusti, Adrian Piper, Emilio Prini, Robert Projansky and Seth Siegelaub, Raqs Media Collective, Robert Rauschenberg, Sharmila Samant, Joe Scanlan, David Shrigley, Daniel Spoerri, Haim Steinbach, Superflex, Rirkrit Tiravanija, Ben Vautier, Lawrence Weiner, Franz West, Cerith Wyn Evans, Carey Young, Andrea Zittel, Heimo Zobernig.

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.

Exhibition catalogue published in conjunction with the nine month traveling Fluxshoe exhibition from 1972 to 1973. Includes contributions by Joseph Beuys, George Brecht, Robert Filliou, Dick Higgins, Yoko Ono, Endre Tot, Ben Vautier, Wolf Vostell, Henry Flynt, Jean-Claude Moineau, Carolee Schneemann, Robin Crozier, Mick Gibbs, Joe Jones, Giuseppe Chiari, and many others. Introduction by Kyosan Bajin. All text in English.

Originally published in 1972 by the Nigel Greenwood Gallery, Book as Artwork 1960/1972 was the first catalogue devoted to the then new medium of the artist’s book and it remains a canonical reference (though one that, due to its scarcity, is not as well known as it should be). This publication started as an article and a list of about 80 artists’ books which appeared in 1970 in the first issue of the Italian magazine Arte. Not long after it was translated and published in Interfunktionen. Then in 1972 the Nigel Greenwood Gallery in London mounted an exhibition of artists’ books and issued a catalogue with an updated text by Celant and a greatly expanded bibliography (now nearly 300 titles) jointly compiled by Celant and Lynda Morris. The exhibition was the first of its kind and the catalogue a genuinely historic publication. Grounded in the media studies of Marshall McLuhan and philosophical writings of Herbert Marcuse, Celant’s analysis of the medium has the feeling of a definitive statement. He lays out exactly what makes the medium important while noting the historical trends and key individuals that led to its rapid development after 1960. Significantly, the history Celant wrote in 1972 is much broader than the overly simplistic Dieter-Rot-in-Europe-and-Ruscha-in-America origin myth of the artist’s book that has gained currency since. Besides Ruscha and Rot, Celant’s text emphasizes the early influence of John Cage but he also encompasses into the narrative such disparate or overlooked elements as the Zaj group in Spain and Arte Povera in Italy, as well as work related to Fluxus, Art & Language, Land Art, Pop, Minimalism, Conceptualism, etc. The bibliography includes books that range from the iconic to the virtually unknown by Vito Acconci, Carl Andre, Alison Knowles, Richard Hamilton, Piero Manzoni, Joseph Kosuth, John Latham, Andy Warhol, Bob Law, Yoko Ono, Michelangelo Pistoletto, Henry Flynt, Hanne Darboven, Dan Graham, Dick Higgins, Joel Fisher, Athena Tacha, John Stezaker, Gianfranco Baruchello, Jose Luis Castillejo, Sol Lewitt, Robert Morris, Stanley Brouwn, Edouardo Paolozzi, Bruce Nauman and Bruce McLean, to name just a few of the artists whose work is cited. With this new edition it is possible to regain the perspective of 1972. It was a period when, as Celant describes it, the “the rules used for the identification of the art object were destroyed” and thus “medium became significant in itself.” Artists’ books were emblematic of the new multidisciplinary approach taken by the era’s avant-garde and, as that approach continues to be the predominant mode among artists working today, it is increasingly clear that artists’ books have been, and continue to be, integral to the practice of art in the contemporary era.

Featuring work by 23 international artists including Bas Jan Ader, Tacita Dean, Felix Gonzalez-Torres, Rodney Graham, Louise Lawler, Yoko Ono and Frances Stark, this illustrated reader takes on romantic motifs (desire, melancholia) and methods (fragmentation, ephemerality, process) in Conceptualism, thwarting the conventional opposition between romantic inwardness and conceptual rationalism.

Television emerged as the dominant mass medium in the United States during the era that President John F. Kennedy termed the New Frontier. Although television would soon be decried as “a vast wasteland,” during this era artists began to engage with the medium in a sustained manner for the first time–and not just as an object to be pictured, but as a system that demanded a renegotiation of the relationship between the realms of art and life. The New Frontier is the catalogue of the first exhibition to examine the impact of television on the visual arts in the United States at a crucial period in the development of both. With a lively selection of nearly seventy-five paintings, sculptures, installations, films, videos, photographs, and documents from the United States and Europe, it explores how twenty artists, including Wallace Berman, Bruce Conner, Lee Friedlander, Dennis Hopper, Edward Kienholz, Yoko Ono, Nam June Paik, Robert Rauschenberg, Wolf Vostell, Andy Warhol, Tom Wesselmann, and Garry Winogrand, responded to the increased prominence of television in daily life during the early 1960s. Working in modes and styles as varied as collage and assemblage, Pop Art, Color Field Painting, Fluxus, Performance Art, and documentary photography, these artists engaged with the perceptual, technological, and social changes catalyzed in part by the emergence of television as the dominant mass medium.

As Japan sped through modernization and technological advancement in the late twentieth century, complex influences shaped its Modern and contemporary art. Chikaku mixes media and generations in exploring that history through themes of time and memory. It includes work from Yayoi Kusama, Daido Moriyama, Yoko Ono, Hiroshi Sugimoto and Miwa Yanagi.

Writing by Mike Sperlinger, Stuart Comer, Andrea Fraser, Bettina Carl, Ian White. afterthought represents an engagement on the part of a younger generation of writers, curators and artists with some of the conceptual strategies of the 1960s and 1970s which continue to influence contemporary art. The subjects covered include instruction pieces, conceptualism and curatorship, television and the museum, the politics of institutional critique; artists discussed include Yoko Ono, ‘Orders & Co.’, Gerry Schum, Hanne Darboven, and many others.

“From Gordon Matta-Clark to Lawrence Weiner, Bruce Nauman to Alison Knowles, the question of site locates itself in issues of public space, at the intersection of the imagined and the real, at the juncture of performance and architectural production. By anthologizing essays, documents, and interviews by leading critics, historians, and artists on issues of site-specificity, conceptualism, feminism, and architecture practice, Surface Tension reveals the connections between cultural production and the very spaces in which such work functions. These textual explorations are complemented by extensive documentation of related projects, both historical and contemporary, by artists, architects, and performance artists, including Coughing Piece, a never-before released 1961 audio work by Yoko Ono; an obscure audio work by Nauman from 1969; projects by Suzanne Lacy, a leading figure in the development of conceptual practice and public art; and an experimental text by Jane Rendell on psychic architectures. Conversations occur between the pages of Surface Tension, between theoretical analysis and modes of practice, that activate the publication as a site itself, one participating in a broad field of knowledge. Includes an audio CD of the sound art pieces.”

Don’t think that because there are no male artists in this book that it’s any less a comprehensive guide to 20th century art and art movements. And don’t expect a quaint, lightweight offering: this hardcover baby weighs in at 576 pages and features more than 90 international artists from the twenties to the turn of the millennium. From painting, sculpture, and photography (of course) to concept art, performance, body art, video, feminist actions, installations, and interactive projects – a great diversity of themes and media are featured. The likes of Marina Abramovic, Laurie Anderson, Vanessa Beecroft, Louise Bourgeois, Sonia Delaunay, Nan Goldin, Barbara Hepworth, Jenny Holzer, Frida Kahlo, Georgia O’Keeffe, Barbara Kruger, Tamara de Lempicka, Mariko Mori, Yoko Ono, Meret Oppenheim, Elizabeth Peyton, Pipilotti Rist, Cindy Sherman, Rosemarie Trockel, Rachel Whiteread (and too many others to name) grace the pages of this tome, each artist represented by six pages of illustrations and photographs covering the various phases of her life and work, including biographical portraits and text. Presented in alphabetical order by artist, “Women Artists” is an indispensable reference guide, not to mention a beautiful book that’s a joy to flip through.

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.

The rise of performance art, and its merging with more traditional forms like painting and sculpture, is the great revolution of postwar art. Its links to theater, photography, music, dance, politics, and popular culture have made it especially appealing to contemporary artists in remote areas; more than any other movement in recent art, performance has found a place throughout the world. Covering three decades of significant and original art, this book features work by more than one hundred artists from the United States, South America, Eastern and Western Europe, and Japan who have had a profound impact on the relationship between visual and performance art in the postwar era. Among the artists included are Joseph Beuys, Chris Burden, John Cage, Lygia Clark, Yves Klein, Marta Minujin, Bruce Nauman, Helio Oiticica, Claes Oldenburg, Yoko Ono, Robert Rauschenberg, Niki de Saint Phalle, Atsuko Tanaka, and Jean Tinguely. Their work encompasses performative objects such as sculpture, artists’ publications, drawings, photographs, and ephemera that come from performances, as well as documentary film and video stills. Published in conjunction with a major exhibition, organized by The Museum of Contemporary Art, Los Angeles, Out of Actions illuminates the unique relationship between action, destruction, performance, and the creative process. Covering an unprecedented range of material, both nationally and temporally, the book offers the first critical comparisons of work that has previously been viewed as distinctly regional and unrelated. With essays by: * Paul Schimmel * Shinichiro Osaki * Hubert Klocker * Kristine Stiles * Guy Brett * Kellie Jones

As a phenomenon, Fluxus was neither a part of the contemporaneous Pop Art movement nor a form of Neo-Dada. Spawned in the 1960s through the collaborative efforts of such artists as Nam June Paik, Josef Beuys, and Yoko Ono, Fluxus has had a big impact on art produced ever since. In many ways, it was a lifestyle, and no one lived it more completely than George Maciunas, founder and prime mover. Born in Lithuania, he possessed a great capacity for organizing materials as well as people. He hated waste and suffered much of his life from respiratory difficulties, accomplishing much with very few resources and a lot of ingenuity. As an individual, he was the quintessential artist with a mission, someone who passionately practiced what he preached. Until this biography, few sources could begin to pin down this complex and eccentric man. In keeping with the Fluxus spirit, it is an international collective work, written by the people who knew Maciunas. Above and beyond the biographical material, this book is loaded with insightful anecdotes about the art world of the 1960s

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.

Linder Sterling’s work had its first exposure in the punk fanzine The Secret Public and as art for the sleeve of the Buzzcocks’ first single, “Orgasm Addict.” Soon she had her own band, Ludus, founded with Ian Divine. Her visuals and her performances have remained legendary in the musical world–for example, a costume consisting of raw meat and a black vibrator, worn for a special evening at the Hacienda–but these formative contributions to the aesthetics of punk and its offshoots have only recently received wider recognition. With no clear academic career path, without institutional or curatorial support, Linder has continued to make multidisciplinary work, work that has led observers to call her the missing link between Yoko Ono and Tracey Emin. This first book, a rediscovery and a debut at once, includes contributions from writers and cultural figures including Philip Hoare, Jon Savage, Andrew Renton, Lynne Tillman, Paul Bailey and Morrissey.

There had never been art like the art produced by women artists in the 1970s ;and there has never been a book with the ambition and scope of this one about that groundbreaking era. WACK! documents and illustrates the impact of the feminist revolution on art made between 1965 and 1980, featuring pioneering and influential works by artists who came of age during that period ;Chantal Akerman, Lynda Benglis, Theresa Hak Kyung Cha, Valie Export, Mary Heilmann, Sanja Ivekovič, Ana Mendieta, Annette Messager, and others ;as well as important works made in those years by artists whose whose careers were already well established, including Louise Bourgeois, Judy Chicago, Sheila Levrant de Bretteville, Lucy Lippard, Alice Neel, and Yoko Ono.The art surveyed in WACK! includes work by more than 120 artists, in all media ;from painting and sculpture to photography, film, installation, and video ;arranged not by chronology but by theme: Abstraction, “Autophotography,” Body as Medium, Family Stories, Gender Performance, Knowledge as Power, Making Art History, and others. WACK!, which accompanies the first international museum exhibition to showcase feminist art from this revolutionary era, contains more than 400 color images. Highlights include the figurative paintings of Joan Semmel; the performance and film collaborations of Sally Potter and Rose English; the untitled film stills of Cindy Sherman; and the large-scale, craft-based sculptures of Magdalena Abakanowicz. Written entries on each artist offer key biographical and descriptive information and accompanying essays by leading critics, art historians, and scholars offer new perspectives on feminist art practice. The topics ;including the relationship between American and European feminism, feminism and New York abstraction, and mapping a global feminism ;provide a broad social context for the artworks themselves. WACK! is both a definitive visual record and a long-awaited history of one of the most important artistic movements of the twentieth century.Essays by:Cornelia Butler, Judith Russi Kirshner, Catherine Lord, Marsha Meskimmon, Richard Meyer, Helen Molesworth, Peggy Phelan, Nelly Richard, Valerie Smith, Abigail Solomon-Godeau, Jenni SorkinArtists include:Marina Abramovič, Chantal Akerman, Lynda Benglis, Dara Birnbaum, Louise Bourgeois, Judy Chicago, Lygia Clark, Jay DeFeo, Mary Beth Edelson, Valie Export, Barbara Hammer, Susan Hiller, Joan Jonas, Mary Kelly, Maria Lassnig, Linda Montano, Alice Neel, Senga Nengudi, Lorraine O’Grady, Pauline Oliveros, Yoko Ono, Orlan, Howardena Pindell, Yvonne Rainer, Faith Ringgold, Ketty La Rocca, Ulrike Rosenbach, Martha Rosler, Betye Saar, Miriam Schapiro, Carolee Schneemann, Cindy Sherman, and Hannah Wilke.

Tokyo 1955-1970: A New Avant-Garde explores the extraordinary convergence of artists and other creators in Japan’s capital city during the radically transformative postwar period. Examining works from a range of media–painting, sculpture, photography, drawing, printmaking, video and film, as well as graphic design, architecture, musical composition and dance–this is the first publication in English to focus in depth on the full scope of postwar art in Japan. During this period, Tokyo was a vibrant hub that attracted such critical artistic figures as Taro Okamoto, Hiroshi Nakamura, Ay-O, Yoko Ono, Mieko Shiomi and Tetsumi Kudo; photographers Daido Moriyama, Eikoh Hosoe and Shomei Tomatsu; illustrators and graphic designers Tadanori Yokoo, Kohei Sugiura and Kiyoshi Awazu; and architects Arata Isozaki and Kisho Kurokawa; as well as many important artists’ collectives. Curator Doryun Chong’s essay investigates Tokyo’s sociopolitical context and the massive urban changes that set the stage for the city to emerge as a vital node in the international avant-garde network. Essays by scholars Hayashi Michio and Miryam Sas and curator Mika Yoshitake discuss critical concepts in art and culture at this time, including “graphism,” which manifested itself across various mediums; the development of new sculptural languages; and the “intermedia” tendency that engendered provocative cross-pollination among artistic genres. Masatoshi Nakajima provides an illustrated chronology and Yuri Mitsuda supplies artist biographies. Tokyo 1955-1970: A New Avant-Garde brings fresh insight to this dynamic metropolis during a time of remarkable artistic burgeoning.

Angus MacLise was an American artist, poet, percussionist, and composer active in New York, San Francisco, Paris, London and Kathmandu from the 1950’s through the 1970’s. Best known as the original drummer of the Velvet Underground, MacLise’s lifework included music, calligraphy, performance art, poetry, drawings, plays, and limited edition artist’s books. MacLise was a collaborative partner in the early 1960’s with art groups and individuals such as Fluxus (George Maciunas, Yoko Ono), Theatre of the Ridiculous, and Jack Smith. As a poet, MacLise began publishing in partnership with high school friend Piero Heliczer in the late 1950’s, establishing the Dead Language Press in Paris, widely acknowledged as one a most significant small artist book presses of the 20th Century. Together with his wife, artist and underground press illustrator Hetty MacLise, he edited issue No. 9 of the magazine-in-a-box, Aspen, considered a hallmark of American publishing. While residing in Nepal, he formed the Bardo Matrix/Dreamweapon Press with Ira Cohen, issuing poetry in limited editions on handmade rice paper. The press published Paul Bowles, Charles Henri Ford, Gregory Corso and Diane Di Prima among others. MacLise also published his own works and edited the poetry magazine Ting Pa. On Summer Solstice 1979, MacLise died from hypoglycemia in Kathmandu, and was cremated in the fashion of Tibetan Buddhist funerary rites. A suitcase of Angus MacLise’s artwork, publications, and manuscript as well as more than 100 hours of recorded music was left with La Monte Young and Marian Zazeela for safe-keeping thirty years ago. This extraordinary time-vault is the foundation of the exhibition DREAMWEAPON, with additional materials drawn from private previously unseen collections and archives. The standard edition of the DREAMWEAPON exhibit catalog features texts by Lou Reed, La Monte Young, Ira Cohen, plus exhibit curators Johan Kugelberg and Will Swofford Cameron. This edition includes a laid in memorial letterpress broadside commemorating Ira Cohen, reprinting a 1976 ode to Cohen by Angus MacLise. The broadside printed by Jon Beacham/The Brother In Elysium Press.

Electrical Banana. Masters of Psychedelic Art di Norman Hathaway e Dan Nadel, ripercorre la storia della cultura psichedelica, straordinario fenomeno musicale e artistico nato a metà degli anni ‘60 nella West Coast californiana. Il libro si apre con un’intervista a Paul McCartney rilasciata agli autori e raccoglie testimonianze e contributi dei principali esponenti del movimento, corredate da numerose immagini, molte delle quali inedite. Rispetto all’immaginario psichedelico precedentemente diffuso, Electrical Banana. Masters of Psychedelic Art propone un’interpretazione innovativa e rivoluzionaria. Sono sette gli artisti protagonisti selezionati dai due autori per raccontare la “rivoluzione psichedelica”: l’eclettica artista olandese Marijke Koger, celebre per aver disegnato alcuni vestiti per i Beatles; Mati Klarwein, visionario illustratore e autore della magnifica copertina Bitches Brew di Miles Davis; l’artista di culto giapponese Keiichi Tanaami, autore di straordinari poster psichedelici; Heinz Edelmann illustratore tedesco e art director del film d’animazione Yellow Submarine del 1968; il celebre artista e designer giapponese Tadanori Yokoo; Dudley Edwards indiscusso protagonista della scena rock londinese e infine l’enigmatico artista australiano Martin Sharp, autore della copertina dell’album Disraeli Gears dei Cream e di splendide grafiche apparse sulle riviste underground più in voga in quel periodo.

Contains contributions by George Brecht, Claus Bremer, Earle Brown, Joseph Bryd, John Cage, David Degener, Walter De Maria, Henry Flynt, Yoko Ono, Dick Higgins, Toshi Ichiyanagi, Terry Jennings Dennis, Ding Dong, Ray Johnson, Jackson Mac Low, Richard Maxfield, Malka Safro, Simone Forti, Nam June Paik, Terry Riley, Dieter Rot [Dieter Roth], James Waring, Emmett Williams, Christian Wolff, and La Monte Young. 2 loose sheets laid in (musical score and perforated sheet); 2 mounted envelopes plus contents (performace scores) are missing.

In recent years the use of film and video by British artists has come to widespread public attention. Jeremy Deller, Douglas Gordon, Steve McQueen and Gillian Wearing all won the Turner Prize (in 2004, 1996, 1999 and 1997, respectively) for work made on video. This fin-de-sicle explosion of activity represents the culmination of a long history of work by less well-known artists and experimental filmmakers. Ever since the invention of film in the 1890s, artists have been attracted to the possibilities of working with moving images, whether in pursuit of visual poetry, the exploration of the art form’s technical challenges, the hope of political impact, or the desire to reinvigorate such time-honored subjects as portraiture and landscape. Their work represents an alternative history to that of commercial cinema in Britain–a tradition that has been only intermittently written about until now. This major new book is the first comprehensive history of artists’ film and video in Britain. Structured in two parts (‘Institutions’ and ‘Artists and Movements’) , it considers the work of some 300 artists, including Kenneth Macpherson, Basil Wright, Len Lye, Humphrey Jennings, Margaret Tait, Jeff Keen, Carolee Schneemann, Yoko Ono, Malcolm Le Grice, Peter Gidal, William Raban, Chris Welsby, David Hall, Tamara Krikorian, Sally Potter, Guy Sherwin, Lis Rhodes, Derek Jarman, David Larcher, Steve Dwoskin, James Scott, Peter Wollen and Laura Mulvey, Peter Greenaway, Patrick Keiller, John Smith, Andrew Stones, Jaki Irvine, Tracy Emin, Dryden Goodwin, and Stephanie Smith and Ed Stewart. Written by the leading authority in the field, A History of Artists’ Film and Video in Britain, 1897-2004 brings to light the range and diversity of British artists’ work in these mediums as well as the artist-run organizations that have supported the art form’s development. In so doing it greatly enlarges the scope of any understanding of ” British cinema” and demonstrates the crucial importance of the moving image to British art history.

Reel Work: Artist’s Film and Video of the 1970’s brings together film and video (primarily tapes) created by some of the best known visual and performance artists during a very rich decade for experimentation with moving images. The artists included are often more renowned for their work in other media, but they picked up cameras in the seventies and created art that was new in both concept and execution. Catalogue contains stills from film and videos by Andy Warhol, Paul McCarthy, Chris Burden, Dennis Oppenheim, Yoko Ono and others.

Catalogo della IV Rassegna Internazionale del Video d’Autore, organizzata a Taormina nel 1989. A cura di Valentina Valentini, documenta lavori di Yoko Ono, Alexander Kluge, Marina Abramovic, Silvie & Chérif Defraoui. Numerosi i contributi storico-critici, tra i quali segnaliamo: “I film di Yoko Ono”, di John G. Hanhardt; “Archeologia del video. Dal cinema sperimentale all’arte video”, di Vittorio Fagone; “Lo sguardo e il fenomeno”, di Alessandra Cigala; “Il videotape, un mezzo di navigazione”, di Franck Gillette; “Il mondo dei desideri è multiforme”, di Meinhard Prill.

Unconventional and distinctly “unladylike,” Bad Girls considers many issues and controversies raised by the recent exhibitions “Bad Girls” and “Bad Girls West,” mounted in New York and Los Angeles respectively. But the central issues it examines are humor, transgression, and the critical and constructive potential of laughter in the work of a new generation of Bad Girls. Humor is the connecting force between the 45 artists in “Bad Girls,” and it is clear that they express themselves in ways that their mothers probably would not have approved of. But they don’t care. Bad Girls addresses questions of gender, race, class, age, and sex by challenging conventional ideas about motherhood, food, fashion, beauty, work, marriage, and psychoanalysis. Using humor as a subversive weapon and having a field day with cosmetic aids and transgressive bodies, the artists in Bad Girls draw from the issues that concern artists like Barbara Kruger, Jenny Holzer, Hannah Wilke, and Cindy Sherman while taking these in new directions. In one of the book’s four essays, Marcia Tucker, founder and director of The New Museum of Contemporary Art, discusses the relationship between work centering on gender and feminist issues and the carnivalesque, the female/lesbian/cross-dressed body in relation to the “grotesque body,” mass culture and popular culture, and the evolution of a female comic sensibility. Marcia Tanner, independent curator for “Bad Girls West” in Los Angeles, focuses on foremothers who include Yoko Ono, Sherrie Levine, and Louise Bougeoise. Linda Goode Bryant, freelance writer and researcher, takes on the etymology of the world “bad” in black culture. And Cheryl Dunye, curator, lecturer, and self-described black lesbian bad girl filmmaker, addreses transgressive women’s videos.

In the years following the Second World War, artists across the world began to attack the most basic premises of painting, in ways that were both aggressive and playful. The creative act itself was deemed as important as the painting that resulted from it, creating an energetic interzone between painting and performance in which chance procedures, the movement of bodies and the participation of spectators were all recruited as tools. Explosion! Painting as Action explores the connections and cross fertilizations between painting, performance and conceptual art from the late 1940s to the present. Examining painting, photography, video, performance, dance and sound art, this volume includes works by Lynda Benglis, Niki de Saint Phalle, Cai Guo-Qiang, the Gutai Group, Allan Kaprow, Yves Klein, Alison Knowles, Ana Mendieta, Rivane Neuenschwander, Yoko Ono, Jackson Pollock, Robert Rauschenberg, Carolee Schneemann, Shozo Shimamoto, Lawrence Weiner and many others.

Act or Perish! accompanies the first extensive overview of Auto-Destructive art pioneer Gustav Metzger (born 1926), organized in 2015–16 at the Centre of Contemporary Art in Torun and Kunsthall Oslo and Stiftelsen Kunstnernes Hus in Oslo. The exhibition catalog provides readers with a rich array of theoretical contributions, including a conversation between Dobrila Denegri and Yoko Ono, Ivor Davies, Hermann Nitsch and Jon Hendricks, as well as Metzger’s own writings. Essayists Pontus Kyander, Andrew Wilson, Mathieu Copeland, Dobrila Denegri, Leanne Dmyterko, Hans Ulrich Obrist and Manuel Olveira take up different aspects of Metzger’s work, from the artist’s early political activism to his experimentation with painting and his drafting of the manifestos for Auto-Destructive Art, providing an invaluable and much-awaited document of a pioneer of postwar art.