Louisiana Museum of Modern Art
Dorothy Iannone – A Cook Book - Orange (1969)
- Specifications
- Description
- The Maker
- Brand:Louisiana Museum of Modern Art Denmark
- Country: Printed in Denmark
- SKU: LA-109000-FJ
- Material: Printed on paper.
- Dimensions:11.7" x 16.5" (A3)
The drawing here comes from Innone's cookbook with real recipes, seasoned with existential reflections. The book is rich in details, sensuality, humor and gender political statements, which are both served salty, sour, bitter and with umami and seductive sweetness in this take on the cookbook as a classic format. In the middle of a mayonnaise recipe, for example, the following consideration is served: "WELL, BUT GOD COULD BE A WOMAN. SORRY."
Since the 1960s, Dorothy Iannone has developed a brightly colored, ornamental imagery that unfolds in paintings, drawings, books, video sculptures and more.
Dorothy Iannone's personal love relationships constitute an essential element. But the autobiographical depictions build on a solid foundation of mythological and historical depictions of relationships and sex, love, sex and ecstasy. Here Iannone draws on references ranging from antiquity, the Icelandic sagas, Christianity and the Baroque to Indian tantra, world literature and film history.
Many works have the character of psychedelic 'graphic novels', where handwritten texts and images together tell the stories—bluntly and with the humor embedded in both linguistic and pictorial details.
Dorothy Iannone was born in Boston, USA, but has lived and worked in Europe since 1967. She is represented in Louisiana's collection with two works.
From the beginning, the founder, Knud W. Jensen, intended for the museum to be a home for modern Danish art. But after only a few years he changed course, and instead of being a predominantly Danish collection, Louisiana became an international museum with many internationally renowned works.
Louisiana's close contact and collaboration with the international arts and cultural milieu has since been one of the museum's greatest strengths. And also one of the main reasons that it has been possible for Louisiana to present an exhibition program that has resonated so strongly with the public over the years. Louisiana has thus achieved a standing as one of the world's most respected exhibition venues, and in the future, it will be able to attract exhibitions and artists at a level that few other museums—either in Denmark or abroad—can match.
Knud W. Jensen put into action many of the period's visionary ideas about modern museum operation, including a desire for art to have a wide audience. It has always been the view at Louisiana that art is not just for an elite but includes experiences and visions for the many.
Why is it called Louisiana?
Many people wonder about the name of the museum. The short explanation is this—a nobleman and his three wives.
Knud W. Jensen chose to "take over" the name of the country house that he later converted to a museum. The property had been built and named in 1855 by Alexander Brun (1814-93), who was an officer and Master of the Royal Hunt and who married three women who were all named Louise.
Here at Louisiana, he was a pioneer in beekeeping and the cultivation of fruit trees.
From the beginning, it was Knud W. Jensen's vision to create a museum with soul, where the public could encounter artwork—not as something pretentious, but rather something that spoke directly to the viewer. And he emphasized the need for "supplementary content" that could help bring alive and enrich the environment: The more opportunities for experience that the program offers, the more Louisiana lives up to its idea—to be a 'musical meeting place' and a milieu that is engaged in contemporary life.
—Knud W. Jensen
