Klaus Biesenbach - Böcker

Self-taught and working in isolation until his death in 1973, Henry Darger realized an elaborate fantasy world of remarkable beauty and strangeness through hundreds of paintings and an epic written narrative. Angel-like Blengins with butterfly wings, natural catastrophes, innocent girls, and murderous soldiers all appear in Darger's scenes, which are reproduced in this book in double-page and gatefold illustrations. In the volume's introductory essay, Klaus Biesenbach examines the radical originality of Darger's art, including his use of collage, incorporation of religious themes and iconography, and frequent juxtaposition of innocence with violence. An essay by Brooke Davis Anderson illuminates Darger's source materials and techniques, while another by Michael Bonesteel puts Darger's life in the context of his work. The book also includes Darger's autobiography, “A History of My Life," introduced by Carl Watson. The only book of its kind, Henry Darger offers an authoritative, balanced, and insightful look at an American master.

A collaboration with Gordon; a collection of images and texts from the past forty years that deal with the idea of visual memory, shared visual knowledge and the interwoven texture of imagined and remembered sounds and images. Also explores the relationship between film and psychoanalysis, and the way these systems of thought have affected the idea of individual biography.

Yoko Ono: One Woman Show, 1960–1971 examines the beginnings of Ono’s extensive career, demonstrating her pioneering role in visual art, performance and music during the 1960s and early 1970s. The exhibition 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 Tokyo and Kyoto in 1964, exhibiting at the Indica Gallery in London in 1966, and launching 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 The Museum of Modern Art. Over forty years after Ono’s unofficial MoMA debut, the Museum will present its first exhibition dedicated exclusively to the artist’s work. The publication evaluates the broader cultural context of Ono’s early work and features five sections reflecting her geographic locations during this period and the corresponding evolution of her artistic practice. Each chapter includes an introduction written by a guest scholar, artwork descriptions, new interviews with key figures from the time, and a selection of primary documents culled from newspapers, magazines and journals.