Kevin Concannon

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"Actionable Art: From Sam's Cafe to United Art Contractors, Conceptual Art on Trial," Blackbird: a journal of literature and the arts, 21, no. 1 (Spring 2022).

"Review: Man Ray: The Paris Years, Virginia Museum of Fine Arts," SECAC Online Reviews (December 2021).

"Yoko Ono's Touch Piece:A Work in Multiple Media, 1960-2009," OnCurating 51 (September 2021): 133-149.

“Laurie Anderson: Invented Instruments,” in Laurie Anderson: Invented Instruments, exh. brochure (Blacksburg, Virginia: Moss Arts Center, Virginia Tech, 2018).

 “Lost in the Archive: Yoko Ono and John Lennon’s Four Thoughts,” Review of Japanese Culture and Society 28 (2016) (Center for Intercultural Studies and Education, Josai University): 261-74. 

Cited in: David Curtis, London’s Arts Labs and the 60s Avant-Garde. (Bloomington:Indiana University Press, 2020). p. 60.

  

Cited in:  Andrew Wilson, “Total Communication Equals Peace” In Music of the Mind: Yoko Ono (Juliet Bingham, Connor Monahan, and Jon Hendricks, eds.) New Haven: Yale University Press, 2024. p. 122.

 

 Alison Flanagan and Kevin Concannon, “Depictions of Martin Luther King, Jr. in Public Art from 1967 to the Present,” Sociology and Anthropology 5 (8) (2017): 645-650.

 "Introduction and Checklist," in To Market We Go: Art, Advertising and the Multiple, exh. brochure (Blacksburg, VA: Armory Art Gallery, 2014)

"Review: Framed Spaces: Photography and Memory in Contemporary Installation Art by Monica E. McTighe," Visual Resources: An International Journal of Documentation. (2014).

 

"Yoko Ono's Dreams: The Power of Positive Wishing," Performance Research 19, no. 2 (2014): 102-107.

Cited in: Toksoz, Emin. Contemporay Art and Entertainment Industry, PhD Dissertation, Yeditepe University, Istanbul, 2015. Pp.18-19.

Cited in: Garofalo, Irene. “Imagine” An Anthem for Peace and Solidarity, MA Thesis, Cultural History of Modern Europe, Utrecht University, (August 2018) 8, 52, 54.

Cited in: Holdar, Magdalena. “The Unlimited Performativity of Instruction Art: Space Transformerby Yoko Ono.” In Sonya Petersson, Christer Johansson, Magdalena Holdar, and Sara Callahan, eds. The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection (Stockholm: Stockholm University Press, 2018), 101, 114, 115, 118.

Cited in: Visione, Mark Paul. “The Artist in Times of War,” PhD Thesis, University of Sydney, 2018. 

http://hdl.handle.net/2123/18816

"Two Trees," in Two Trees: Rona Pondick and Jennifer Steainkamp, exh. brochure (Blacksburg, VA: Armory Art Gallery, 2013).

 

"My Mommy is Beautiful," in Yoko Ono: My Mommy is Beautiful, exh. brochure (Blacksburg, VA: Armory Art Gallery, 2013).

 

“Brian Eno,” Grove Art Online (www.groveart.com) featured article in the fall 2013 Contemporary Art update. 

 

“Cut and Paste: Collage and the Art of Sound,” in Sound By Artists (facsimile edition) (Ontario: Charivari Press, 2013) republication of 1990 volume.

 

“In and Around the Studio: Reni Gower in Conversation with Kevin Concannon,” in Strange Loops: Reni Gower: 30 Years of Painting, exh. cat. (Richmond, VA: Reni Gower, 2012), n.p.

 

“Filthy Gorgeous,” in Jennifer Vanderpool: Wanton, exh. brochure (Bogata, Columbia: Galeria Sextante, 2011).

 

“Estate Planning for Artists: A Novel Approach,” in The Art Guys, Forever Yours (Houston: The Art Guys, 2011): 9-17.

 

“Yoko Ono,” in Joan Marter, ed., The Grove Encyclopedia of American Art, Volume 3 (New York: Oxford University Press, 2011): 595-96.

 

“Dalí in Virginia,” SECAC Review XLI, no. 5 (2010): 598-607.

Cited in: Alex Greenberger, “Salvador Dali Nearly Created a Confederate Monument in Virginia, ArtNews.com, June 10, 2020.

Cited in: Brad Kutner, "The Richmond Salvador Dali statue folly," RVANews, 8 June 2011.

     https://rvanews.com/news/richmond-salvador-dali-statue-folly/46807

 

“In Formation: Twelve Artists,” Flash Forward, exh. brochure (Cleveland: Spaces Gallery, 2009).

 

Agency: Art and Advertising, exh. cat. (general editor and contributor) (Youngstown, Ohio: McDonough Museum of Art, 2008), lead essay and multiple entries.

Cited in:  Christopher Howard, The Jean Freeman Gallery Does Not Exist (Cambridge: MIT Press, 2018): 315, 345.

 

-------, Jeffrey Deitch, Chrissie Iles, Alexandra Munroe, and Jann Wenner, “Yoko Ono” in National Arts Awards 2008 Honorees, DVD (Americans for the Arts: Washington, D.C., 2008). (Video introduction of Ono for Annual Awards Gala.)  http://www.youtube.com/watch?v=RlGaqzg28Og&feature=youtu.be 

 

“Yoko Ono’s Cut Piece (1964): From text to performance and back again,” PAJ: A Journal of Performance and Art 30, no. 3 (September 2008): 81-93.

 Cited in: Midori Yoshimoto and Alex Pittman, eds, “An Evening with Fluxus Women: a roundtable discussion,” Women & Performance: a journal of feminist theory 19, no. 3 (2009), 380.

 

 Cited in: Rachel Ruth Zylka. Power Performance: Benevolence and Violence in the work of Chris Burden, Barbara T. Smith, Yoko Ono and Wafaa Bilal, masters thesis, University    of Southern California (2010): 23.

Cited in:   Carla Defrancq. Ruimte in het oeuvre van Dominique Gonzalez-Foerster (Space in the work of Dominique Gonzalez-Foerster), masters thesis, Ghent University, Belgium (2011); 23.

Cited in: Helena Reckitt, “To Make Time Appear,” Art Journal70, no. 3 (Fall 2011): 58-63.

 

Cited in: Vera Mackie, “Instructing, constructing, deconstructing: the embodied and disembodied performances of Yoko Ono,” in Roy Starrs, ed, Rethinking Japanese Modernism, (Leiden: Global Oriental, 2012). Pp. 494, 496, 497.

Cited in: Kim, EunHee. Theoretical relationship between expressive/art therapy and postmodern philosophy. Hofstra University, 2013. 

Cited in: Johnson, Clare. "Performance photographs and the (un) clothed body: Yoko Ono's Cut Piece." Clothing Cultures(2013). 

Cited in:Ingrid Pfeiffer, “Bringing the World into Balance: Yoko Ono’s Contribution to an Art of Self-Reflection from 1955 to the Present,” in  Yoko Ono Half-A-Wind Show: A Retrospective, Ingrid Feiffer and Max Holein, eds.(New York: Prestel, 2013), 23-35.

Cited in: Ana Martínez-.‐Collado, Dossiers Feministes, 18 (2014) “Arte contemporáneo, violencia y creación feminista. «Lo personal es político» y la transformación del arte contemporáneo” p.38.

 

Cited in: Mechtild Widrich, “Is the “Re” in Re-enactment the “Re” in Re-performance?,” (138-147) in C. Dertnig and Thun-Hohenstein, eds. Performing the Sentence: Research and Teaching in the Performative Fine Arts (Berlin: Sternberg Press, 2014):140-41.

 

Cited in:  Janelle Proulx, Necessry Movements (MFA Thesis: Virginia Commonwealth University, 2014): 20-21.

Cited in:Georgia Banks. Reperformance: A Dedication (Masters Thesis, Victoria College of the Arts, The University of Melbourne) 2015.

Cited in:Amy Herzog, “Architectures of Exchange: Feminism, Public Space and the Politics of Vulnerability,” Feminist Media Histories 1, no. 3 (2015): 66-94. Pp. 68-70.

 

Cited in:  Yu, Xia, Yoko Ono and her Contributions to Feminist Art (MA thesis), The University ot Texas at Austin, 2015.: 27,43.

            https://repositories.lib.utexas.edu/handle/2152/32206?show=full

Cited in: Klaus Biesenbach, “Absence and Presence in Yoko Ono’s Work,” in Yoko Ono: One-Woman Show, ex cat. (New York: Museum of Modern Art, 2015): 34.

 

  Cited in: Midori Yoshimoto, “Cut Piece,” in Klaus Biesenbach and Christophe Cherix, eds., Yoko Ono: One Woman Show 1960-1971 (New York: Museum of Modern Art, 2015): 106.

Cited in: Huang, Vivian L. 2016. "Some Island Unknown to the Rest of the World Inscrutability, Asian Americanness, Performance." Order No. 10139647, New York University. http://login.ezproxy.lib.vt.edu/login?url=https://search.proquest.com/docview/1820915488?accountid=14826.

Cited in: Lenaers Cases, S. (2016). Dominación androcentrista y encierro en el arte contemporáneo [Tesis doctoral no publicada]. Universitat Politècnica de València. doi:10.4995/Thesis/10251/61953

Cited in: Wolff, Rachel. All We Have: Performance Photographs and Artist Interviews in the Contemporary (PhD Dissertation, The University of Minnesota, 2016). 74, 75, 76, 80.

https://conservancy.umn.edu/bitstream/handle/11299/191339/Wolff_umn_0130E_17310.pdf?sequence=1&isAllowed=y

Cited in: April Marie Anderson. Fluxus Artists and Their Works: Context, Religious, and Spiritual Influences, MA Thesis in Modern Art History, Theory, and Criticizm, Azusa Pacific University, May 2017. Pp. Pp 56, 57, 58, & 66. 

Cited in:Logie, John. "Remix: Here, There, and Everywhere (or the Three Faces of Yoko Ono, "Remix Artist")." Journal Of Contemporary Rhetoric 7, no. 2/3 (April 2017): 116-129. Communication & Mass Media Complete, EBSCOhost (accessed May 10, 2018).

Cited in: Shin, Wonjung, 2017, "Cultural Identity as an Artistic Strategy : East-Asian Artists in the 1960s Western Scene," THE MISULSAHAKBO : Reviews on the Art History, Vol. 49, pp. 171~191.

Cited in: Baldwin, Michael S. (2017) Effaced/reflected/being: documents and/of/as musicking bodies. Doctoral thesis, University of Huddersfield, 18.

Cited in:  Carlson M. (2017) Mapping Abramović, from Affect to Emotion. In: Diamond E., Varney D., Amich C. (eds) Performance, Feminism and Affect in Neoliberal Times. Contemporary Performance InterActions. Palgrave Macmillan, London

Cited in:  Lucinda McKnight, David Rousell, Jennifer Charteris, Kat Thomas & Geraldine Burke (2017) "The invisible hand: designing curriculum in the afterward," International Journal of Qualitative Studies in Education, 30:7, 641. 

Cited in: April Marie Anderson. Fluxus Artists and Their Works: Context, Religious, and Spiritual Influences, MA Thesis in Modern Art History, Theory, and Criticizm, Azusa Pacific University, May 2017. Pp. Pp 56, 57, 58, & 66.

 Cited in: Stevens, C. (2018). The Beatles in Japan. London: Routledge, 103.

Cited in: Shalson, Lara. Performing Endurance: Art and Politics since                        1960. Cambridge:Cambridge University Press, 2018. 46/52-53.

 

Cited in: Lusicana Galliano. Japan Fluxus(Lanham, MD: Rowman & Littlefield/Lexington Books, 2019), 29.

 

Cited in:  Schmidt, Constanze “I Do. From Instruction to Agency: Designing of Vocational Orientation Through Artistic Practice,” in Paula Hildebrant, Kerstin Evert Sibylle Peters, Mirjam Schaub, Kathrin Wildner, and Gesa Ziemer, eds., Performing Citizenship: Bodies, Agencies, Limitations(Cham, Switzerland: Palgrave Macmillan, 2019: p. 304.

 

Cited in: Katherine Markoski, “Chronology and Plates: Yoko Ono,” in Melissa Ho, ed., Artists Respond: American Art and the Vietnam War, 1965-1975. Smithsonian American Art Museum in association with Princeton University Press, Washington, CD and Princeton, NJ, 2019, 43,45.

 Cited in: Rebecca Proppe, “Instruction Paintings: Yoko Ono and the Narratives of Modernism,” Re:Locations Journal of the Asia Pacific World, vol. 2 (2019): 24, 26, 28.

Cited in: Bacalzo, Dan. 2019 "Asian American Experimental Theater and Solo    Performance." Oxford Research Encyclopedia of Literature, p. 2.

  Accessed 8 Jul. 2019. https://oxfordre.com/literature/view/10.1093/acrefore/9780190201098.001.0001/acrefore-9780190201098-e-771.

 Cited in: Rachel Augusto, Creating Afterlives: Preserving Traces of Performance Art from a Museological Perspective, MA Thesis, Leiden University Arts and Culture/Museum and Collections track, 2020, pp. 30/31. 

 Cited in: Helen Westgeest and Rachel Augusto, “Preservando a performatividade de performances e respeitando sua efemeridade, (Preserving the performativity of performance art while respecting ephemerality)” Museologia & Interdisciplinaridade9, no18 (2020), pp. 77, 88-90. DOI 10.26512/museologia.v9i18.34544

  Cited in:  Fitz-James, Thea. "Performing Trans Ontology: The Body (and Body of Work) of Jaimes Mayhew." Frontiers: A Journal of Women Studies 41, no. 3 (2020): 130-146. doi:10.1353/fro.2020.0031. Pp 136-38.

Cited in:(Menshikov, Leonid Alexandrovich) МЕНЬШИКОВ Леонид Александрович, “ЖАНРОВО-СТИЛЕВЫЕ ОСОБЕННОСТИ АКЦИОНИСТСКИХ ПРАКТИК ФЛЮКСУС-ДВИЖЕНИЯ В НЕОАВАНГАРДЕ 1960–1970-х” (Style Peculiarities in Shared Practices of Fluxus: Motion in the Neo-avantgarde of the 60s and 70s) PhD Dissertation, Saint Petersburg State Conservatory, 2020. Pp 8, 165.

 Cited in: Fabian Holt. Everyone Loves Music: A Theory of Performance Institutions. Chicago: The University of Chicago Press, 2020. P.188.

 

Cited in: Anna Ioanes, "Observations on an Event: Yoko Ono: Poetry, Painting, Music, Objects, Events, and Wish Trees," ASAP Journal (online), 27 February 2020. Accessed at: https://asapjournal.com/observations-on-an-event-yoko-ono-poetry-painting-music-objects-events-and-wish-trees-anna-ioanes/

Cited in: Veronica Marina Fazzio Welf, Social Sculpture: A Plastic Process of Mutual Transformation, PhD dissertation, University of Plymouth School of Art, Design and Architecture (2021), 62, 84.

 

 

Cited in: Andreea S. Micu. Performance Studies: the basics. Routledge: New York, 2022. p. 152.

 

 

 

Cited in:    Elizabeth Bilyeu; Kelsey Ferreira; Luke Peterson; and Christine M. Weber. Understanding New Media Art. OpenOregon Educational Resources, 2022 (Chapter 12: Performance Art). online: https://openoregon.pressbooks.pub/understandingnewmediaarts/#main

 

Cited in: Artur  Correia de Freitas. “Reperformance: a presença em questão. Urdimento–Revista de Estudos em Artes Cênicas, Florianópolis, v. 1 n. 43, abr. 2022, p. 26.

Cited in: Peggy Kyoungwon Lee,"The Alpha Orient: Lisa Park and Yoko Ono," TDR (The Drama Review)66, no. 2 (T254) (2022), p. 55,

 

Cited in:  Magdalena Holdar. Fluxus as a Network of Friends, Strangers, and Things; The Agency of Chance Collaborations. Brill, Boston: 2023. p.177

 

Cited in:   Tom Taylor, "The Art of Nakedness: Yoko Ono’s classic cut-piece performance," Far Out Magazine (UK) 31 March 2023. online: https://faroutmagazine.co.uk/the-art-of-nakedness-yoko-onos-classic-cut-piece-performance/

 

Cited in:    Julia Bingham, “Introduction” In Music of the Mind: Yoko Ono (Juliet Bingham, Connor Monahan, and Jon Hendricks, eds.) New Haven: Yale University Press, 2024, 17.

 

Cited in:     Patrizia Dander, “A Shadow is a Memory: Visibility and Reception of Ono’s Work in Germany: 1962-72” In Music of the Mind: Yoko Ono (Juliet Bingham, Connor Monahan, and Jon Hendricks, eds.) New Haven: Yale University Press, 2024. Pp. 227 & 228.

 

 

 

 

 

 

 

"Yoko Ono: Woman of the World,” in Eric C. Shiner and Reiko Tomii, eds., Making a Home: Japanese Contemporary Artists in New York (New York: Japan Society, 2007): 126-29.

 

Yoko Ono Imagine Peace featuring John and Yoko’s Year of Peace, exh. cat. (general editor and contributor) (Akron, Ohio: Emily Davis Gallery, 2007).  Lead essay. 

Cited in: Cantoral, Mary Bronstein, "Ideology, the Counterculture, and the Avant Garde:     Positioning the Filmmaker and the Spectator in Four Films of Late-1960s America"     (2015). College of Communication Master of Arts Theses, p. 159. https://via.library.depaul.edu/cmnt/29

 

“Review: Midori Yoshimoto. Into Performance: Japanese Women Artists in New York." New Brunswick, NJ: Rutgers University Press, 2005,” caa.reviews (online journal of the College Art Association) June 2007. Accessed at www.caareviews.org/reviews/1001 on 28 June 2007.

 

Mass Production: Artists’ Multiples and the Marketplace, exh. cat. (general editor and contributor) (Akron, Ohio: Emily Davis Gallery, 2006).  Lead essay, object entries, and acknowledgements.  Edited student manuscripts (entries).  Worked with Graphic Design class under direction of Professor Christopher Hoot to produce book.

 

"War Is Over!  John and Yoko’s Christmas Eve Happening, Tokyo, 1969," Review of Japanese Culture and Society 17 (December 2005): 72-85.

Cited in: David Platzker, “War Is Over!,” in Klaus Biesenbach and Christophe Cherix, eds., Yoko Ono: One Woman Show 1960-1971(New York: Museum of Modern Art, 2015): 204.

 

“Yoko Ono,” Grove Art Online (www.groveart.com) featured article in the new Asian Contemporary Artists section.

 

“Advertising and the Artist’s Multiple,” Grouper 2 (Summer 2005) (a special issue of the magazine published by Publico alternative space, Cincinnati, as the catalogue for the Multiple Strategies exhibition at the Contemporary Arts Center, Cincinnati): 7-16.

 

Peggy Phelan, Kevin Concannon, Irina D. Costache, Kathleen Desmond, David Little, and Steve Shipps. “Art History Survey: A Round-Table Discussion,” Art Journal 64, no. 2 (Summer 2005): 32-51.

Cited in:  Robert Bersson, “The Lecture in Art-History Classrooms,” CAANews31, no. 5, 8–10 (2006).

 

Cited in: Eser Selen, Gul Kacmaz Erk, and Christopher Wilson. “Teaching Art History to Design Students,” International Journal of the Humanities 5, no. 7 (2007) p. 66

 Cited in:  Terry Barrett, “Teaching Toward Appreciation in the Visual Arts,” Springer International Handbook of Research in Arts Education16 (2007).

Cited in: Peter Scott Brown and Jace Hargis, “Undergraduate Research in Art History Using Project Based Learning,” The Journal of Faculty Development22, no. 2 (May 2008), 152-58.

 

Cited in:(as "Kevin Concannon, Irina Costache, and Steve Shipps," authors) : Jonathan Kinkley, "Art Thief: An Educational Computer Game Model for Art Historical Instruction," Leonardo42, no. 2 (2009): 133-37. 

Cited in:  Kathleen K. Desmond. Ideas About Art(Oxford: Wiley-Blackwell, 2011).

 

Cited in:  Julia A. Sienkewicz, “Critical Perception: An Exploration of the Cognitive Gains of Material Culture Pedagogy,” Winterthur Portfolio47, no. 2/3 (Summer/Autumn 2013).

Cited in: Josh Yavelberg. Discovering the Pedagogical Paradigm Inherent in Inroductory Art History Survey Courses, A Delphi Study, PhD Thesis, George Mason University, 2016: 3, 50. 

Cited in: Melissa Kerin and Andrea Lepage, "De-Centering 'The' Survey: The Value of Multiple Introductory Surveys to Art History," Art History Pedagogy and Practice 1, no. 1 (2016). p. 2.

 

Cited in: Jari Martikainen, “Making Pictures as a Method of Teaching Art History,” International Journal of Education and the Arts18, no. 19 (2017)

 

Cited in:  [1] R. A. Black, "Understanding how Perceptions of Identity and Power Influence Student Engagement and Teaching in Undergraduate Art History Survey Courses." Order No. 10810084, The University of Arizona, Ann Arbor, 2018. 

Cited in: Madeline Rislow and Kipton D. Smilie, “Art History’s agility: K-12 practices for higher education consideration,” Arts Education Policy Review, (2020) p. 13.

Cited in: Rebecka A. Black, “Understanding How Perceptions of Power and Identity Influence Student Engagement and Teaching in Undergraduate Art History Survey Courses,” Art History Pedagogy & Practice 5,. N. 1 (2020), 2, 3, 6.

 Cited in:  Daniel Savoy, “Toward an Inclusive Art History,” World Art, Taylor & Francic, 2020, 16.

“Art and Politics after the Culture Wars,” in Dissent: Political Voices, online exh. cat. (Cleveland: Spaces Gallery, 2005).  www.spacesgallery.org

 

Kevin Concannon and Reiko Tomii.  "Chronology" (a new, extensively updated version that incorporates the years 2000-2003 as well as additional research into earlier activities) and “Bibliography” for the Japanese-language edition of Yes: Yoko Ono (Tokyo: The Asahi Shimbun Company, 2003): 178-209.  The book, published to coincide with the Japanese your of the related exhibition (October 2003-December 2004), also features a Japanese-language version of my “War Is Over!” essay: 126-29.  Invited.

 

“Fluxus and Advertising,” Performance Research 7, no. 3 (2002): 55-63.  Refereed.

  Cited in:  Holdar, Magdalena. “The Unlimited Performativity of Instruction Art: Space Transformerby Yoko Ono.” In Sonya Petersson, Christer Johansson, Magdalena Holdar, and Sara Callahan, eds. The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection (Stockholm: Stockholm University Press, 2018), 101.

 

"Nothing Is Real: Yoko Ono's Advertising Art," in Yes: Yoko Ono, exh. cat. (New York: Harry N. Abrams, Inc. and the Japan Society of New York, 2000): 174-97.   Invited.

Cited in: Midori Yoshimoto, “Fluxus and Japanese Women Artists,” in Japanese Women Artists in Avant-garde Movements, 1950-1975, exh. cat. (Tochigi, Japan: Tochigi Prefectural Museum of Fine Arts, 2005): 197/200.

 Cited in:    Reiko Tomii, “Geijutsu on Their Minds: Memorable Words on Anti-Art,” in Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, 1950-1970, exh. cat. (Los Angeles: Getty Research Institute, 2007): 59.

Cited in:  Ingrid Pfeiffer, “Bringing the World into Balance: Yoko Ono’s Contribution to an Art of Self-Reflection from 1955 to the Present,” in  Yoko Ono Half-A-Wind Show: A Retrospective, Ingrid Feiffer and Max Holein, eds.(New York: Prestel, 2013), 23-35.

 Cited in:  Julia Bryan-Wilson, “For Posterity: Yoko Ono,” in Klaus Biesenbach and Christophe Cherix, eds., Yoko Ono: One Woman Show 1960-1971 (New York: Museum of Modern Art, 2015): 24.

 Cited in:  Christopher Howard, The Jean Freeman Gallery Does Not Exist (Cambridge: MIT Press, 2018): 26, 27.

Cited in: Miriam Kienle, "Ray Johnson's Robin Gallery: Queer Publicity Network as Counterpublic," Oxford Art Journal 42, no.2 (2019): 200-201.

Cited in:  Andrew Wilson, “Total Communication Equals Peace” In Music of the Mind: Yoko Ono (Juliet Bingham, Connor Monahan, and Jon Hendricks, eds.) New Haven: Yale University Press, 2024. p. 123.

“Touch Poem No. 3, 1964,” in Yes: Yoko Ono, exh. cat. (New York: Harry N. Abrams, Inc. and the Japan Society of New York, 2000): 182-83.

“IsReal Gallery, 1965-66,” in Yes: Yoko Ono, exh. cat. (New York: Harry N. Abrams, Inc. and the Japan Society of New York, 2000): 184-85.

“Ono’s Sales List, 1965,” in Yes: Yoko Ono, exh. cat. (New York: Harry N. Abrams, Inc. and the Japan Society of New York, 2000): 186-87.

“Advertisements in Art and Artists, 1966,” in Yes: Yoko Ono, exh. cat. (New York: Harry N. Abrams, Inc. and the Japan Society of New York, 2000): 188-89.

 “War Is Over!, 1969,” in Yes: Yoko Ono, exh. cat. (New York: Harry N. Abrams, Inc. and the Japan Society of New York, 2000): 190-93.

 “Touch Poem No. 3, 1964,” in Yes: Yoko Ono, exh. cat. (New York: Harry N. Abrams, Inc. and the Japan Society of New York, 2000): 182-83.

 “Museum of Modern [F]art, 1971,” in Yes: Yoko Ono, exh. cat. (New York: Harry N. Abrams, Inc. and the Japan Society of New York, 2000): 194-95.

Cited in: Cited in:  Julia Bryan-Wilson, “For Posterity: Yoko Ono,” in Klaus Biesenbach and Christophe Cherix, eds., Yoko Ono: One Woman Show 1960-1971 (New York: Museum of Modern Art, 2015): 27.

“Touch Poem No. 3, 1964,” in Yes: Yoko Ono, exh. cat. (New York: Harry N. Abrams, Inc. and the Japan Society of New York, 2000): 182-83.

 “Fly, 1996,” in Yes: Yoko Ono, exh. cat. (New York: Harry N. Abrams, Inc. and the Japan Society of New York, 2000): 196-97.

 

Kevin Concannon and Reiko Tomii.  "Chronology" and "Bibliography" in Yes: Yoko Ono, exh. cat. (New York: Harry N. Abrams, Inc. and the Japan Society of New York, 2000).   Invited.  Edited and translated for Korean edition of the exhibition catalogue, 2003.  Updated, edited, and translated for Japanese edition of the exhibition catalogue, 2003.

Cited in:  Alan Clayson, Barb Jungr, and Robb Johnson.  Woman: The Incredible Life of Yoko Ono(New Malden, Surrey, UK: Chrome Dreams, 2004): 183.

Cited in: Tamara Levitz, “Yoko Ono and the “’Unfinished Music’ of John and Yoko: Imagining Gender and Racial Equality in the Late 1960s,” in Avital H. Bloch and Laurri Umansky, eds. Impossible to Hold: Women and Culture in the 1960s(New York: New York University Press, 2005):  235.

Cited in: Jieun Rhee, “Performing the Other: Yoko Ono’s Cut Piece,” Art History28, no. 1 (February 2005): 99/103/104/116.

Cited in: Lisa Gabrielle Marck, “Yoko Ono,” in Wack! Art and the Feminist Revolution(Cambridge: MIT Press, 2007): 277.

Cited in: Heather La Bash.  Yoko Ono: Transnational Artist in a World of Stickiness(MA Thesis in American Studies)(Kansas City: University of Kansas, 2008):

    Cited in: Alison Knowles, Carolee Schneeman, et al., “An Evening With Fluxus Women: A Roundtable Discussion,” Women & Performance: A Journal of Feminist Theory19, no. 3 (November 2009): 369-89. 

Unfinished Works and Aural Histories: Yoko Ono’s Conceptual Art, PhD dissertation, Virginia Commonwealth University, Richmond, Virginia, 2000.

 

 Cited in: Midori Yoshimoto, Into Performance: Japanese Women Artists in New York(New Brunswick, New Jersey: Rutgers University Press, 2005): 80/81.

Cited in: Kotz, Liz. Words to be Looked at: Language in 1960s Art. Cambridge, MA: Mit Press, 2007.

 

 Cited in: Bari, Martha Ann.Mass media is the message: Yoko Ono and John Lennon's 1969 year of peace. ProQuest, 2007.

 Cited in: Jung-Ah Woo, “Silence and Scream: Yoko Ono’s Subversive Aesthetics,” n.paradoxa23 (2009): 62-69.

 

"Cut and Paste: Collage and the Art of Sound," www.localmotives.com: netmagasin for samtidkunst og -kultur (internet journal based in Norway), no. 2.0 (July/August 2000). Slightly revised republication of text originally published in 1990.  (See below.)  Invited.

 

“Not for Sale: Yoko Ono’s Discounted Advertising Art,” The Florida State University Art History Graduate Student Symposium, Tallahassee, March 1999.  Paper awarded the Gunther Stamm Memorial Prize for Excellence. Published in Athanor XVII (1999): 77-85. Refereed.

"The Ballad of Jones and Yoko (Response to Ronald Jones's review of the recent Yoko Ono exhibitions)," Artforum 37, no. 5 (January 1999): 12-14. 

Yoko Ono’s Cut Piece (1964): A Reconsideration, MA Thesis in Art History (Richmond: Virginia Commonwealth University, 1998).

Cited in: Midori Yoshimoto, “Nihon kara sekai e: Ono Yoko to zen’ei” (From Japan to the World: Yoko Ono and the Avant-Garde) Bijutsu Techo, no. 841 (November 2003: 72-73, 84-89. p. 89

 

Cited in: Jieun Rhee, “Performing the Other: Yoko Ono’s Cut Piece,” Art History28, no. 1 (February 2005): 99/103/104/116.

 

Cited in: Midori Yoshimoto, “Fluxus and Japanese Women Artists,” in Japanese Women Artists in Avant-garde Movements, 1950-1975, exh. cat. (Tochigi, Japan: Tochigi Prefectural Museum of Fine Arts, 2005): 196/199.

 

Cited in: Midori Yoshimoto, Into Performance: Japanese Women Artists in New York(New Brunswick, New Jersey: Rutgers University Press, 2005): 100.Cited in: Bari, Martha Ann. Mass media is the message: Yoko Ono and John Lennon's 1969 year of peace. ProQuest, 2007.

 

Cited in: La Bash, Heather.Yoko Ono: Transnational Artist in a World of Stickiness. ProQuest, 2008.

 

Cited in: Yoshimoto, Midori, Featuring Alison Knowles, Carolee Schneemann, Sara Seagull, Barbara Moore, Brynn Wein Shiovitz, Midori Yoshimoto, and Alex Pittman. "An evening with Fluxus women: a roundtable discussion." Women & Performance: a journal of feminist theory19, no. 3 (2009): 369-389.

 

 

"Yoko Ono's Cut Piece: Critical Reception," paper presented at The Third Annual Performance Studies Conference, Atlanta, April 1997. Refereed.

 

1.  
   1.     Cited in: Peggy Phelan, “The Returns of Touch: Feminist Performance, 1960-80,” in Wack! Art and the Feminist Revolution(Cambridge: MIT Press, 2007): 352.

 

“Sometimes a Word is Worth a Thousand Pictures: Yoko Ono’s Art as Verb,” in Fly, exh. cat., Anderson Gallery, Virginia Commonwealth University, Richmond, Virginia, 1996.  Exhibition curated by Jean Crutchfield.  Invited.

 Cited in: Ann Glenn Crowe, “Yoko Ono,” Art Papers 21(March/April 1997):  77.

 

"Cut and Paste: Collage and the Art of Sound," Sound By Artists, ed. Dan Lander and Micah Lexier, Art Metropole, Toronto (and Walter Phillips Gallery, Alberta), 1990.  Invited.

Cited in: Dan Lander, “Radiocasting: Musings on Radio and Art,”  eContact2.3 (September 1999) (electronic journal) (Montreal: Concordia University)  accessed at:

Cited in: Piers Hugill, “Cinematics of the Voice: time and rhythm as montage in text-sound composition,” Pores: An Avant-Gardist Journal of Poetics Research, issue 3 (electronic journal) (London: Contemporary Poetics Research Centre, Birckbeck College, 2003) accessed at:

Cited in: “Kurt Schwitters,” Wikipedia, the free encyclopedia, 

Cited in: Carter, David. Clever Children: The Sons and Daughters of Experimental Music. Griffith University, 2009.

Cited in: Black, Colin. "An overview of spatialised broadcasting experiments with a focus on radio art practices." Organised Sound15, no. 03 (2010): 198-208.

Cited in:  Black, Colin. “Radio Art Sound-Composition: Exploring a Dualistic Binaural Sonic Interplay,” Sound Scripts: Proceedings of the 2009 Totally Huge New Music Conference 3 (2011): 44.

 Cited in: Sewell, Stacey. "The Sampling of Bodily Sound in Contemporary Composition: towards an embodied analysis." (2013).

Cited in: Ian Madeley, “Looking Again: Emerging Practice in Domestic Space,” in Kilickiran, Alegria, and Haddrell, eds. Space and Place: Exploring Critical Issues 3 (Oxford, UK: Inter-Disciplinary Press, 2013): 116.

Cited in: Heuvingh, Nathan, Sampling Beyond Sound: Contemorary Sound Art and Popular Music Masters thesis, OCAD University, Toronto, 2014.  9, 11, 67.

Cited in: Margaret Ann Hall. Radio after Radio: Redefining radio art in the light of new media technology through expanded practice (PhD Dissertation, University of the Arts, London, 2015): 25, 26.

Cited in: Elke Huwiller, “A Narratology of Audio Art: Telling Stories by Sound,” in Mildorf, Jarmila and Till Kinzel, eds. Audionarratology: Interfaces of Sound and Narrative(Berlin: DeGruyter, 2016) 99-116.

Cited in: Bhaugeerutty, Aruna Devi. Sound Art: Discourses of Definition in the Contemporary Artworld, PhD Thesis, School of Arts and Cultures, Newcastle University August 2017, 87. 

 Cited in:  Farinata, Lucia. Audio Arts Archive from Inventory Space to Imaginary Space, PhD Thesis, Kingston University London, 2020), 82, 151-52.

"Art After Midnight: Satan and the New Censorship," Media Arts, Spring/Summer 1989, pp. 10/12.  Invited. "Topsy-Turvy," in Extended Play, Emily Harvey Gallery, New York, February 1988.  (C. Nivek, pseudonym)  Exhibition curated by Christian Marclay.  Invited.

"Sound Sculptures - A Survey of American Work," Ars Electronica festival catalogue, Linz, Austria, 1987.  Published in German with original English text. Invited.

•  Unauthorized Electronic republication: in Ars Electronic Archive, accessed at: http://www.aec.at/en/archives/festival_archive/festival_catalogs/festival_artikel.asp?iProjectID=9126on 10 September 2004. 

"Collaboration: The Spirit of the Eighties," Art New England, October 1987, pp. 6/7. Invited.

"Sound Approaches to Public Art," Media Arts, Fall 1987, p. 19. Invited.

"Further Thoughts About the Territory of Art," Media Arts, Spring 1987, p. 13. Invited. "

Art and Industry," Media Arts, Winter 1987, pp. 8/10. Invited.

"Robert Wilson and David Byrne: The Knee Plays," Art New England, December 1986/January 1987, p. 17. Invited.

"Getting Into the Picture—Resources for Video Artists in New England," Art New England, September 1986, pp. 8/25. Invited.

"TVOD," Media Arts, Summer 1986, p. 14. Invited.

"David Mahler: Head Theater/New Records," Art New England, July 1986, p. 15. Invited.

"After the Beep," Daily Evening Item (Lynn, Massachusetts), June 10, 1986, p. 15.

"Rhys Chatham and Joseph Nechvatal," Art New England, June 1986, pp. 11/24. Invited.

"Channel to Showcase Different Kind of 'Stringed' Instrument," Boston Globe, May 7, 1986, p. 66.  Refereed. "

"Artist Transforms Breezes on NSCC Campus," Daily Evening Item, April 8, 1986, p. 24.  Refereed.

"Life's a Beach: An Installation by Chris Enos," Art New England, April 1986, p. 14. Invited.

"David Moss and Richard Lerman: Sound Art," Art New England, April 1986, p. 14. Invited.

"Notes on Sound Art," Art New England, March 1986 (Guest Editor), p. 5.  (Guest Editorial, p. 3.) Invited.

"Sound Sculpture," Media Arts,  Fall 1985, p. 9. Invited.

"Artists' Records: Toward a Definition," Media Arts, Spring/Summer 1985, p. 13. Invited.

"Pier Gustafson," Art New England, March 1985, p. 13. Invited.

"Books by Artists," Art New England, December 1984, p. 8. Invited.

"Nam June Paik,"  Art New England, October 1984, p. 16. Invited.

"Duane Michals Appears and Vanishes," Views: The Journal of Photography in New England, Volume 5, Number 3, p. 6. Invited.

"Brian Eno/Michael Chandler," Artforum, April 1984, p. 11. Refereed.

Cited in: Eric Tamm.  Brian Eno: His Music and the Vertical Color of Sound, updated edition (New York: Da Capo Press, 1995).  Originally published 1989.

"Words and Pictures, " Views: The Journal of Photography in New England, Volume 5, Number 2, p. 16.   Invited. "Jennifer Bartlett," Art New England, March 1984, p. 11. Invited.

"You Haven't Heard the Last of It: A Brief Guide to Artists' Records," Art New England, January 1984, pp. 5/19. Invited.

On the Wall/On the Air: Artists Make Noise, Massachusetts Institute of Technology,  Committee on the Visual Arts, Cambridge, MA, 1984.  Exhibition brochure. Invited. Dodds, Robin.

 Anne Turyn: Lessons and Notes, The New Museum of Contemporary Art, New York, 1983.  (Brochure: bibliographical research.)  Invited.

"Drawings by Sculptors," Art New England, December 1983, p. 23. 

"Laurie Anderson," Art New England,  April 1983,  pp. 6-7.  

 

OTHER PUBLICATIONS:

 

"High Adventure in West Virginia," Richmond Times-Dispatch (9 September 1990): J1/J6.

"Whale Watching," New England Getaways vol. 1, no. 3 (May/June 1986): 54-55.

 "Celebrate in the North End: Italian feasts celebrate ethnic heritage with good food and family fun," New England Getaways, vol. 1, no. 4 (July/August 1986): 53-57.