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For 31 years, artists Dieter Roth and Dorothy Iannone conducted a love affair through letters, postcards, telegrams, notes, poems, and texts, and through the works of art they made for and about each other. Completely open and trusting, their intelligent, honest correspondence, reproduced here chronologically, tells their story in a form much like that of a novel.
Since the 1960s, Dorothy Iannone has attempted to represent ecstatic love, 'the union of gender, feeling, and pleasure.' Today her oeuvre is widely recognized as one of the most provocative and fruitful bodies of work in recent decades in terms of the liberalization of female sexuality, political and feminist issues.A narrative element fed with personal mythologies, experiences, feelings, and relationships runs through all of her work, unified by her distinctive colourful, explicit, and comic book-like style.Created in 1969, when she was living with Swiss artist Dieter Roth, the Cookbook is a perfect example of how she mixes daily life and an existential approach, culminating in her vision of cooking as an outlet for both eroticism and introspection. A real book of recipes full of visual delights, the Cookbook contains densely decorated pages with patterned designs, packed text, and vibrant colours. Personal sentences are interspersed among the lists of ingredients, revealing the exultations and tribulations of her life between the lines of recipes.Filled with wit and wordplay, associations between aliments and idiosyncratic thoughts -- 'At least one can turn pain to colour' accompanies the recipe for gazpacho; 'Dorothy's spirit is like this: green and yellow', is written next to the ingredients for lentil soup -- the Cookbook constitutes a mundane but essential self-portrait of the artist as a cook and a lover. This beautiful facsimile of the Cookbook is published in collaboration with Air de Paris, Paris.Born in 1933 in Boston, Dorothy Iannone lives and works in Berlin. Her recent exhibitions include: Centre culturel suisse, Paris, 2016; Migros Museum, Zurich; Berlinische Galerie, Berlin (both 2014); and New Museum, New York, 2009.
For over five decades, Dorothy Iannone has been making exuberantly sexual and joyfully transgressive image-text works. Karen Rosenberg wrote of her in The New York Times: "High priestess, matriarch, sex goddess: the self-taught American artist Dorothy Iannone has been called all these things and more. Since the early 1960s she has been making paintings, sculptures and artist's books that advocate 'ecstatic unity,' most often achieved through lovemaking." Beginning with the famous "An Icelandic Saga," in which Iannone narrates her journey to Iceland (where she meets Dieter Roth and leaves her husband to live with him), this singular volume traces Iannone's search for "ecstatic unity" from its carnal beginnings in her relationships with Roth and other men into its spiritual incarnation as she becomes a practicing Buddhist. Reproducing several previously unpublished or long-out-of-print works in their entirety (such as Danger in Düsseldorf, The Whip, "An Explosive Interlude"), as well as longer excerpts from rarely-seen works like A Cookbook and Berlin Beauties, this volume gives readers the chance to read her work with sustained attention, and enjoy the sophistication of the stories she tells and the visual-textual embellishments that make them so irresistible. Associated with Fluxus through her close friendships with Emmett Williams, Robert Filliou and Ben Vautier, as well as most well-known for her relationship with Dieter Roth, Dorothy Iannone (born 1933) nevertheless has her own distinct aesthetic style and substantive concerns. Her first major museum show in the U.S. came when she was 75 in 2008 at the New Museum, shortly after her "orgasm box" titled "I Was Thinking of You" was included in the Whitney Biennial in 2006, and she has recently attained more recognition with solo shows at the Camden Arts Centre, Palais de Tokyo and the Berlinischer Galerie.
Dorothy Iannone: the Story of Bern, [or] Showing Colors by Clement Dirie Pdf
A superb facsimile of Dorothy Ianonne's 1970 comic-book tale of censorship, sexuality and female autonomy As much as Love and Eros have defined my work since its beginnings, so too has censorship, or its shadow, accompanied it," recalls Dorothy Iannone (born 1933) in her introduction to this facsimile publication of her legendary The Story of Bern, [or] Showing Colors. First published by Iannone and her then companion Dieter Roth in 1970, in an edition of 500, the book documents the censorship of Iannone's work The (Ta)Rot Pack (1968-69) and the subsequent removal of all his works by Roth, from a collective exhibition at the Kunsthalle Bern. For his exhibition titled Freunde, Friends, d'Fründe, legendary curator Harald Szeemann invited Karl Gerstner, Roth, Daniel Spoerri and André Thomkins to exhibit artist friends; Roth chose Iannone. The censorship of Iannone, and Roth's protest, eventually led to Harald Szeemann's resignation as the director of the institution. Telling the story of this act of censorship as well as the context of the exhibition in Bern and its iteration in a non-censored version in Düsseldorf, The Story of Bern is emblematic of Iannone's distinctive, explicit and comic-book style, and of her openness about sexuality and the strengthening of female autonomy.
Author : Dirk Dobke,Dieter Roth Publisher : The Museum of Modern Art Page : 312 pages File Size : 50,7 Mb Release : 2003 Category : Architecture ISBN : 0870700359
Sculptor, poet, diarist, graphic designer, pioneer artist's book maker, performer, publisher, musician, and, most of all, provocateur, Dieter Roth has long been beloved as an artist's artist. Known for his mistrust of all art institutions and commercial galleries--he once referred to museums as funeral homes--he was also known for his generosity to friends, his collaborative spirit, and for including his family in his art making. Much to the frustration of any gallery that tried to exhibit his work (supposedly none more than once), Roth thumbed his nose at those who valued high purpose and permanence in art. Constantly trying to undo his art education, he would set up systems that discouraged the conventional and the consistent: he drew with both hands at once, preserved the discarded, and reveled in the transitory. Grease stains, mold formations, insect borings, and rotting foodstuffs were just some of the materials used, both out of a fascination with their painterly, textural aspects and for their innate ability to make time visible and play to chance. "More is better," he once said, and more there always was. Roth never stopped working, and he believed that everything could be art, from his sketch pad to the table he sat at, the telephone he talked on, or his friend's kitchen (the kitchen was later sold to a museum). Roth Time: A Dieter Roth Retrospective is published to mark the first major survey exhibition of the artist's work since his death in 1998. Five decades of drawings, graphics, books, paintings, objects, installations, films and video works are represented. The publication offers a window into Roth's creative world, reflecting him and his era. The exhibition is organized by the Schaulager with The Museum of Modern Art, New York and the Museum Ludwig, Cologne.
Dieter Roth by Camille Paulhan,Jens Emil Sennewald Pdf
Publié à l'occasion de l'exposition éponyme au Frac Bretagne, Rennes, de décembre 2013 à mars 2014.00Tout au long d'une oeuvre fondamentalement en mouvement, Dieter Roth, ayant vécu toute sa vie entre plusieurs pays, en particulier l'Allemagne, la Suisse et l'Islande, a mis en place des modes opératoires destinés à générer des formes. Dans les années 1950 et 1960, après une formation en Suisse marquée par l'art concret, il développe un travail géométrique d'inspiration constructiviste et typographique. Parallèlement, on assiste chez lui à la destruction de toute tentative formelle. Dans les années 1960, il réalise sa première " île ", amas de matières informes vouées à se dégrader avec le temps, inaugurant une dynamique de construction-destruction récurrente.
This volume discusses the music-related works and collaborative projects of Dieter Roth in Concrete poetry, the Vienna Group, Fluxus and artists' music. It includes a DVD with an excerpt from the video recording of the Abschöpfsymphonie of 1979.
This series of 27 double-sided cards depicts the life of Dieter Roth, Dorothy Iannone's beloved and muse, in the early period of their relationship. During 1968-69, Iannone worked on the cards while they were living in Düsseldorf where Dieter was professor at the Kunstakademie. The original drawings were censored during the exhibition Friends curated by Harald Szeemann at the Kunsthalle Bern in 1969.
Norman Mailer, without a doubt the most important literary figure of his generation, here celebrates the genius of "the greatest living American writer" from an earlier generation in an extended essay of unequalled brilliance as well as in a generous selection from Miller's work to point the way to "the center of the power of his writing." --from front flap.
Dieter Roth und die Musik : Harmonica Curse by Peter Kraut,William Furlong Pdf
In 1981, in Iceland, Dieter Roth played for an hour 74 times on his accordion, recording the improvisation on cassette each time. Harmonica Curse compiles the resulting 74 cassettes with photographs of Roth's environment and diary entries for the first time in this amazing archival publication.
This series of 27 double-sided cards depicts the life of Dieter Roth, Dorothy Iannone's beloved and muse, in the early period of their relationship. During 1968-69, Iannone worked on the cards while they were living in Düsseldorf where Dieter was professor at the Kunstakademie. The original drawings were censored during the exhibition Friends curated by Harald Szeemann at the Kunsthalle Bern in 1969.
"Art polymath extraordinaire, Dieter Roth (1930-1998) maintained throughout his career an output so prodigious and various that art historians and fans are still struggling to keep up. Bringing innovations to media such as installation, sculpture, artist's books, jewelry and writing, Roth also traveled and collaborated extensively, becoming one of the postwar art scene's most visible personalities. Roth kept a close circle of artist friends with whom he collaborated, and to whom he made regular gifts of works that he named "Souvenirs." These friends included Richard Hamilton, Dorothy Iannone, Hansjörg Mayer, Martin Suter and Jan Voss, and the gifts included works of mail art, which Roth would gleefully subject to the vicissitudes of the postal system ("Has it arrived yet?" Voss recalls Roth asking him, of one such gift; "Has it already been nicely destroyed?"). Dieter Roth: Souvenirs is the first presentation of these works."--Publisher description.
