Poetry. Art. STUDY is a collection of "poems on art" written from the 1980s to the present. They are born out of Otomo's "double" identity as both visual artist and poet/writer. Subjects include Giotto, Michelangelo, Picasso, Kandinsky, Max Beckmann, Louise Bourgeois, Joseph Beuys, Cy Twombly, Robert Frank, Ray Johnson, Bruce Nauman, James Castle, and Horace Pippin, along with lesser-known artist friends of Otomo including Hughes, Silv, O'Hara, and more. STUDY consists of 2 parts; Part I: Poem Cycles, and Part II: Rolled Up & Unframed/ Miscellaneous Poems on Art.

Study

Literature & Fiction

Otomo, Yuko

Poetry

Ugly Duckling Presse

Poetry. "This is a collection of free- wheeling improvisational linked poems written by Steve Dalachinsky & Yuko Otomo in a collaborative process. Non-Italic lines indicate Dalachinsky's writing and Italic lines indicate Otomo's. The front cover collage and all four collages inside the book were done collaboratively between Dalachinsky and Otomo. Together they visited art exhibits during the summer of 2017 and found inspiration for this book."--from the Postscript "FROZEN HEATWAVES rises from the page as a score of joyous originality. From first reading, I was drawn through the text in its entirety. Color, shape, and line build a fresh and potent linguistic surprise from artists I have long admired. Deftly composed and mutually responsive literature by these two masters reveals poetic collaboration at its finest."--Sheila E. Murphy

Frozen Heatwave

Dalachinsky, Steve

Luna Bisonte Prods

Poetry. Asian &amp; Asian American Studies. In a country renowned to be possessive of its language--France--Yuko Otomo composed her manifesto ANONYMOUS LANDSCAPE. There are no raised fists, no resentments, no confrontations, and only a modicum of regret. Released rather than frustrated by her inability to name things in that proud tongue, she leads the reader to understand her reunification with all creation, as if returned to the Garden prior to the delegation of appellation. An act of reverse alienation. Her immodest proposition is rendered in the most modest of dictions. There are 200, call them sub-poems, each with an integrity of sometimes aphorism, imagery, irony, or moving simplicity. Their austerities match the austerity of her persuasion. Their gem-likeness has the credibility of lived thought. Her sensitivity to words and the demands of craft, not by chance, renders us an implausible beauty.

Anonymous Landscape

Lithic Pr

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Books by Otomo, Yuko