Yayoi Kusama, Narcissus Sea, installation at the Yokohama Triennale, 2001, approximately 2,000 stainless mirror balls floating in the sea alongside the Kisha-Michi Promenade.
Hannah Wilke
Intra-Venus Series (installation view)
and
Intra-Venus Series No. 9, October 26, 1991
Janine Antoni and Paul Ramirez Jonas, Migration, 2002, channel video playing on two monitors side by side, 58:03 minute loopDimensions variable
Untitled" (Wawannaisa) 1991 C-print jigsaw puzzle in plastic bag 7 ½ x 9 ½ in The Felix Gonzalez-Torres Foundation Courtesy of Andrea Rosen Gallery New York by thecollectorslistLess
from Anne Carson’s “Burners Go Raw” in the London Review of Books 31:4 (26 Feb 2009)
from a Navajo song quoted from Bruce Lincoln’s Emerging from the Chrysalis: Studies in Rituals of Women’s Initiation by Gregory Nagy in Poetry as Performance
from a detail on the cover of Poetry as Performance. Ibid.
Janine Antoni, Touch, 2002, Video installation, Duration: 9:37 minute loop, Projection size: 14 feet 8 inches x 13 feet 2 inches (447.04 x 401.32 cm)
Tracey Emin, still images from “Emin and Emin in Cyprus”, 1996
Janine Antoni, Conduit, 2009, Copper sculpture with urine verdigris patina, framed digital C-print, Image: 25 x 30 inches (63.5 x 76.2 cm); framed: 27 ¼ x 32 ¼ x 2 1/8 inches (69.22 x 81.92 x 5.4 cm), Sculpture: 2 x 7 ¼ x 2 ¼ inches (5.08 x 18.42 x 5.72 cm), Pedestal: 10 ½ x 10 ½ x 32 ½ inches (26.67 x 26.67 x 82.55 cm)
Walter De Maria, The Broken Kilometer, 1979. © The Estate of Walter De Maria. Photo: Jon Abbott
Yoko Ono “Sky TV for Washington” (1966/2014)
“Sky TV is, in Yoko Ono’s words, “a TV just to see the sky.” It brings a live image of the outdoors into the gallery, rain or shine, twenty-four hours a day. When the work was first conceived, in 1966, the artist lived in a windowless space and “wanted so desperately to have a sky in my apartment.” Sky TV is one of the earliest works of art to harness the instant feedback capability of the video camera. The simplicity of its imagery was especially radical at a time before the popularity of videotape and when all material seen onscreen was created by commercial broadcast companies. The sky has been a recurrent motif throughout Ono’s career. She recalls looking up at it as a form of refuge during World War II in Japan: “The sky is the only thing that was shining—beautifully—and it never stops shining.””
Yoko Ono, Jon Hendricks
COLOR, FLY, SKY
Roskilde, Denmark: Museet for Samtidskunst, 1992.
[47] pp., 20.5 x 21 x 3 cm., boxed loose leaves
Edition size unknown
Edited by curator Jon Hendricks on the occasion of the exhibition of the same name at Museet for Samtidskunst, Roskilde, this boxed work contains forty-five cardboard sheets and two pamphlets. These reproduce texts, scores and conceptual works by Ono, as well as photographic stills from her 1970 film Fly.
Little Bristling Soul 