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""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 in her introduction to this facsimile publication of her legendary "The Story of Bern, [or] Showing Colors." First published in 1970, the book documents the censorship of Iannone's work "The (Ta)Rot Pack" (1968-1969) and the subsequent removal of all his works by her then companion, artist Dieter Roth, from a collective exhibition at the Kunsthalle Bern. For his exhibition entitled "Freunde, Friends, d'Fründe," Harald Szeemann invited Karl Gerstner, Roth, Daniel Spoerri, and André Thomkins who all decided to exhibit their artists friends; Roth chose Iannone alongside Emmett Williams. 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. Accompanied by a 4-page insert that includes a new text by Dorothy Iannone and an essay about the context of the book publication by Centre Pompidou curator Frédéric Paul, this publication is a facsimile of the original 1970 "The Story of Bern, [or] Showing Colors."" --
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Pendant six décennies, Dorothy Iannone (née en 1933) a développé une iconographie à la fois épique et intensément personnelle. Ses œuvres évoquent souvent les romans graphiques : des textes manuscrits et des images s'associent pour raconter une histoire avec humour et de manière directe. Au coeur de ses thématiques, on trouve la sexualité libérée et des scènes érotiques qui proviennent de représentations historiques d'unions extatiques à travers les époques, les cultures et les religions, avec des références à l'Antiquité grecque, romaine et égyptienne, au Kama Sutra et au Tantra, aux sagas islandaises, au christianisme, au bouddhisme, à la littérature mondiale et au cinéma.
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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 Dusseldorf, 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.
Iannone, Dorothy --- Art --- eroticism
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Since the 1960s, Dorothy Iannone has attempted to represent ecstatic love, “the union of gender, feeling, and pleasure.” Today her oeuvre, encompassing painting, drawing, collage, video, sculpture, objects, and artist’s books, 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, and political and feminist issues. As Robert Filliou stated as early as in 1972, “She is a freedom fighter, and a forceful and dedicated artist, skillfully blending imagery and text, beauty and truth. Her aim is no less than human liberation.” A narrative element fed with personal mythologies, experiences, feelings, and relationships runs through all of her work, unified by her distinctive colorful, explicit, and comic book style. Created in 1969, when she was living with Swiss artist Dieter Roth, “A 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 book of real recipes full of visual delights, “A 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 and wordplay, associations between aliments 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—” A Cookbook” constitutes a mundane but essential self-portrait of the artist as a cook and a lover.
Iannone, Dorothy --- Art --- art [fine art] --- scripts [writing] --- Sexualité --- Roth, Dieter --- art [discipline] --- Iannone, Dorothy. --- Aesthetics.
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