Published by Louisiana Museum of Modern Art. Edited by Tine Colstrup, Lærke Rydal Jørgensen. Foreword by Poul Erik Tøjner, Tine Colstrup. Text by Barbara Casavecchia, Dorothy Iannone.
For six decades, Dorothy Iannone (born 1933) has developed an iconography that is at once epic and intensely personal. Often her works bear a close resemblance to graphic novels: hand-lettered texts and images work together to tell the story, bluntly and with humor in both verbal and visual details. Liberated sexuality and romantic relations are central themes. Iannone’s erotic scenes stem from historical representations of ecstatic unions across times, cultures and religions, with references to antiquity, Greek vases, Egyptian art, Roman and Pompeian murals, the Kama Sutra and Tantra, Icelandic sagas, Christianity, Buddhism, world literature and film history. Serving as muses, the artist’s lovers appear in her narratives: several works feature the artist Dieter Roth, who was Iannone’s partner from 1967 to 1974. This richly illustrated catalog presents some of the artist’s most important work, alongside an introduction by Italian art historian Barbara Casavechia, the artist’s own writing and an illustrated biography.
Published by JRP|Editions. Edited by Clément Dirié. Introduction by Dorothy Iannone. Text by Frédéric Paul.
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.
Published by JRP|Ringier. Edited by Clément Dirié.
Since the 1960s, Dorothy Iannone (born 1933) has aimed at representing ecstatic love, “the union of gender, feeling and pleasure.” Today her oeuvre, encompassing paintings, drawings, collages, videos, sculptures, objects and artist’s books, is widely recognized as one of the most provocative and fruitful bodies of work in recent decades for its liberalization of female sexuality, and political and feminist issues.
Created in 1969, when she was living with Swiss artist Dieter Roth, the Cookbook is a perfect example of how Iannone mixes daily life, creativity and thought, 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 colors. 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, wordplay and idiosyncratic thoughts—”At least one can turn pain to color” 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 self-portrait of the artist as a cook and a lover. This publication is a facsimile of the 1969 original , now published with a dust jacket specially designed by the artist.
Published by JRP|Ringier. Edited by Heike Munder. Text by Maria Elena Buszek, Dorothy Iannone, Heike Munder.
Since the early 1960s, Dorothy Iannone (born 1933) has occupied herself with the attempt to represent "ecstatic unity"—"the union of gender, feeling and pleasure," as she describes it—resulting in a body of frequently autobiographical work encompassing painting, drawing, collage, objects and publications. This volume examines the censorship of Iannone's work, using her 1970 artist's book The Story of Bern as a starting point. Iannone's works were removed from an exhibition at Kunsthalle Bern in 1969, after the museum director demanded that the genitals in her paintings be covered. Iannone responded with The Story of Bern, reclaiming her work from the controversies surrounding it by making her perspective public. In a nod to the censorship of Iannone's work, the explicit image on the cover of this book is hidden by a belly band.
Published by Kerber. Text by Jan-Frederik Bandel, Michael Glasmeier, Annelie Lütgens, Susanne Rennert. Interview by Maurizio Cattelan.
The art of Dorothy Iannone (born 1933) combines images and words to celebrate unfettered eroticism with jubilant delight and wit. Working autobiographically in media such as artist's books, collage, drawing, writing, sculpture and video, she has long been recognized as a pioneering advocate of liberated female sexuality, and a revolutionary in the fields of artist's books and video art in particular. Her immediately recognizable graphic style--always brightly chromatic and peppered with linguistic embellishment--evokes both comic books and illuminated manuscripts, and only grows more contemporary with the passing of time. Dorothy Iannone: This Sweetness Outside of Time offers an overview of the artist's distinguished half-century career, following the evolution of her work--almost fully formed from the start--as she traversed the globe, from New York to Rekjavik, Düsseldorf to France and Berlin, in the company of artists such as Daniel Spoerri, Robert Filliou and her longtime partner Dieter Roth, battling censorship and elucidating her vision of a joyous sexuality into a spiritual quest for "ecstatic unity." An interview with the artist conducted by Maurizio Cattelan plus various statements by companions and friends as well as a richly illustrated biography round out this catalogue--the most comprehensive overview of her work to date.
Published by Siglio. Edited by Lisa Pearson. Text by Trinie Dalton.
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.
Published by Verlag für moderne Kunst. Essays by Barbara Vinken and Sabine Folie.
Since the 1960s Dorothy Iannone has been making oversized figurative paintings populated with a psychedelic, utopian mix of characters, objects and ornamental themes. Her work, much of it created for, with or about her one-time lover Dieter Roth, developed in the context of the experimental 60s, and years later, her unbowed expressiveness and vitality continue to inspire a new generation, including the curators of the 2006 Whitney Biennial. In this monograph Kunsthalle Wien contrasts her work with that of Lee Lozano, whose work will be shown along with Iannone's at the museum this season. Iannone and Lozano are very different, but Iannone's broad-minded messages of love and Lozano's caustic, hard-core eruptions both use uncompromising styles that combine graphics and comics-like gesture with texts. Both artists also began their careers far ahead of their time and appear today to have been precursors of many contemporary trends.
Published by Holzwarth Publications. Essays by Dietmar Elger, Oliver Koerner von Gustorf and Bernadette Walter. Interview by Dirk Dobke with Dorothy Iannone.
ìDeep in the heart of my loneliness, I think of the art of my lioness.î German Fluxus artist Dieter Rothís enigmatic (and sometimes singsong) mail art for his lover, the artist Dorothy Iannone, was matched only by her responses and the sexually loaded non-mailable art she made featuring the two of them. Roth and Iannone met in 1967, broke up in 1974, and remained friends and lively correspondents until Rothís death. He painted over and dimmed the subjects of postcard photos to make himself the central figure; she needed no prompting to cast him in a starring role in her autobiographically based oeuvre. From ìmy dear old baby, will you please bring this check to the bank so we have some money when I come back,î to ìremember me?î they were a fascinating couple; now readers can encounter that passion themselves.