Sam Hendel Captures Giulia Maenza In 'A Skin Story' For Elle France March 23, 2018

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Model Giulia Maenza is styled by Tamara Taichman in simple sensual elegance for 'A Skin Story', lensed by Sam Hendel for Elle France March 23, 2018./ Hair by Shuhei Nishimura; makeup by William Bartel

Bruna Tenorio Catches a Spring Breeze, Lensed By JUANKR For Design Scene January 2018

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Bruna Tenorio Catches a Spring Breeze, Lensed By Juankr For Design Scene January 2018

Model Bruna Tenorio brings a fresh breeze to the pages of Design Scene magazine, styled by Roderick Hawthorne in an abundance of Christine Dior, Proenza Schouler, Celine and more. JUANKR was raised in Madid, became a marketing professional in Barcelona and then followed his photographer star to New York.  

Dasha Maletina & Bruna Tenorio Are Lensed By Yossi Michaeli For Elle Kazakhstan June 2017

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Dasha Maletina & Bruna Tenorio Are Lensed By Yossi Michaeli For Elle Kazakhstan June 2017

Models Dasha Maletina and Bruna Tenorio are styled by Connie Berg as modern sea goddesses in Dior, Prada, Michael Kors and more for 'Within the sea'. Photographer Yossi Michaeli flashes the duo for Elle Kazakhstan June 2017./ Hair by Takuya Sugawara; makeup by Miriam Robstad

Bruna Tenorio Fronts 'Perfume Oriental', Lensed By Ricardo Abrahao For Marie Claire Brazil May 2017

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Bruna Tenorio Fronts 'Perfume Oriental', Lensed By Ricardo Abrahao For Marie Claire Brazil May 2017

Model Bruna Tenorio is styled by Larissa Lucchese in Arabian modern looks for 'Perfume Oriental'. Photographer Ricardo Abrahao captures the purple hues for Marie Claire Brazil May 2017./ Beauty by Angie Moulin

Yoko Ono Opens At MOMA | First Reviews

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Yoko Ono & Vlada Roslyakova By Pari Dukovic For W Magazine May 2015

Yoko Ono covers the May issue of W Magazine May 2015, channeling her most famous work from the early ’60s, the violent and erotic ‘Cut Piece’ (1964) in which the artist knelt on stage and invited the audience to come up and snip the clothes off her body with tailor’s shears. Below is a  performance of ‘Cut Piece’ by the artist. 

Yoko Ono’s May 2015 MOMA show, opened May 17 and runs through September 7, 2015. Read review comments below.

‘Yoko Ono: One Woman Show, 1960-1971’ Review: Performance for a Lifetime’ WSJ

In this tightly organized installation, her lively mind, wildly optimistic about what her off-kilter art could do for the world, is expressed through some 125 works—paintings, sculptures, texts, posters, films, sound pieces and recordings. The excellent catalog documents her floating role in the Japanese, British and New York avant-garde during the 1960s, and as an idiosyncratic activist in the antiwar and feminist movements.

Yoko Ono at MOMA: A Mmsunderstood artist finally gets her due The Guardian

Who knows whether Ono ever thought she would really get the retrospective she faked in 1971. But now, at the age of 82, her first (or is it second?) one-woman show really has opened at MoMA, and it goes a long way to revalorising one of the most misunderstood artists of the last 60 years. Her massive fame, and maybe her heal-the-world rhetoric too, has obscured the groundbreaking contributions she made to the art of the 1960s and beyond. At last, the art world has come round. This show – finely curated by Christophe Cherix, the museum’s head of drawings and prints; and Klaus Biesenbach, its chief curator at large – is no guerrilla occupation. It is a belated and jubilant rectification of the historical record, and a victory lap for an artist laughed at for too long.

Yoko Ono and the Myth That Deserves To Die’ Vulture.com

Although it might strike some as more mawkish than her provocative early efforts,Wish Tree exists on the same continuum as 1964’s Cut Piece — in which she sat stone-faced (like a modern Buddha or a proto-Abramovic) in front of an audience and asked them to snip off pieces of her clothing. The possibility of mockery, dissent, and violence is all part of the point. Love it or hate it, Ono’s art is a two-way mirror, throwing your own reaction back at you. In her thoughtful book Reaching Out With No Hands: Reconsidering Yoko Ono,Lisa Carver asks: “Should I have sympathy or admiration or worry about what she might reveal to me about me?”