Escolar Documentos
Profissional Documentos
Cultura Documentos
BIESENBACH CHERIX
YOKO ONO
ONE
WOMAN
SHOW
1960 1971
FOREWORD
Glenn D. Lowry
ACKNOWLEDGMENTS
11
21
31
1964 1966
126
INTRODUCTION
Jon Hendricks
132
134
136
138
144
YOKO'S VOICE
Yoko Ono
148
1966 1969
1960 1962
42
150
INTRODUCTION
Clive Phillpot
156
158
164
168
170
INTRODUCTION
Francesca Wilmott
48
54
58
68
70
YOKO'S VOICE
Yoko Ono
174
YOKO'S VOICE
Yoko Ono
74
182
1962 1964
1969 1971
78
INTRODUCTION
Midori Yoshimoto
188
INTRODUCTION
David Platzker
84
92
94
100
106
110
194
198
200
204
208
214
114
YOKO'S VOICE
Yoko Ono
YOKO'S VOICE
Yoko Ono
224
118
FOREWORD
ACKNOWLEDGMENTS
On July 16, 2010, Yoko Ono performed her 1961 work Voice Piece for Soprano at
a microphone installed in The Museum of Modern Arts Donald B. and Catherine
C. Marron Atrium, as part of the 201011 exhibition Contemporary Art from
the Collection, organized by Kathy Halbreich and Christophe Cherix. The artists unique, moving vocalizations filled the building, reaching not only the visitors gathered around her but also those in the Museums various galleries and
other spaces. Throughout the summer and fall, visitors were invited to approach
the microphone and realize their own versions of Voice Piece. This was a fitting
return to the Museum for the artist, as it linked with a previous project that also
involved the entire buildingher 1971 One Woman Show, in which, supposedly,
flies scented with her perfume dispersed throughout the Museums galleries after
having been released in the sculpture garden.
Artist, musician, performer, poet, thinker, and activist. For over fifty years, Yoko
Ono has defied categorization. Today, Onos name is widely known, though the
remarkable depth and foresight of her early work has not previously been investigated in a focused exhibition. The Museum of Modern Arts Yoko Ono: One Woman
Show, 19601971 recognizes the profound achievements of an artist who, over
the course of an extraordinary decade, changed our vision of the world. Such an
exhibition is in no small part due to the talent and dedication of numerous people
within and beyond the Museum.
More than forty years later, we are proud to have worked closely with the artist to present Yoko Ono: One Woman Show, 19601971. Focusing on the early
years of Onos forward-thinking practice, this exhibition is the latest example of
the Museums recognition of the artists pioneering achievements. Thanks to the
extraordinary generosity of Gilbert and Lila Silverman, a trove of significant works
by Ono was added to the Museums collection in 2008, allowing us to increasingly
position her art in dialogue with that of other figures working in the culturally rich
years of the 1960s.
None of the Museums efforts to engage with this original and important body of
work would be possible without the tremendous generosity of the artist herself.
Yoko Ono and her remarkable team have worked tirelessly with Klaus Biesenbach
and Christophe Cherix on the realization of this exhibition. We are most grateful to
them, as we are to the lenders to the exhibition, many of whom are longtime supporters of the artist.
On behalf of the Trustees and the staff of The Museum of Modern Art, I would
like to express my deep gratitude to the Museums Wallis Annenberg Fund for
Innovation in Contemporary Art through the Annenberg Foundation; BNP Paribas;
The Modern Womens Fund; and the MoMA Annual Exhibition Fund, all of which
provided essential support.
It is our hope that Yoko Ono: One Woman Show, 19601971 will add to the growing
body of exhibitions and critical literature on Onos early work, and will help illuminate her lasting contribution to the art of our time.
Glenn D. Lowry
Director, The Museum of Modern Art
This exhibition and publication are profoundly indebted to the expertise and tireless
support of Jon Hendricks, who serves as both Onos curator and the Museums
Fluxus Consulting Curator, and photo archivist Karla Merrifield. Hendricks and
Merrifield offered invaluable insight and guidance in every aspect of this project
and gave indispensable feedback regarding the exhibition catalogue, while Connor
Monahan, with his thorough knowledge of the Ono Archive, enabled us to include
materials never before made available to the public. We are tremendously grateful
to them and to their colleagues at Studio One, including Marcia Bassett, Sari Henry,
Jonas Herbsman, Simon Hilton, Susie Lim, and Michael Sirianni.
We would like to express our sincere appreciation to the public and private lenders who
provided works for the exhibition, including Jon and Joanne Hendricks; Barbara Moore,
through Paula Cooper Gallery, New York; the Kei University Art Center and Archives,
Tokyo; the museum moderner kunst stiftung ludwig wien; Northwestern University
Library, Evanston, Ill.; and The New York Public Library. We are grateful to Tony Marx,
President and CEO of The New York Public Library, for his assistance. Gilbert and Lila
Silverman not only lent essential works to the show, but their 2008 Gilbert B. and Lila
Silverman Fluxus Collection Gift has allowed the Museum to serve as a leading center for
the presentation of Onos work. We would also like to thank lvaro Rodrguez Fominaya
and his colleagues at the Guggenheim Bilbao for sharing the technical details of their
extraordinary presentation of the retrospective Yoko Ono: Half-A-Wind Show in 2014.
The writers in this volume lent their unparalleled expertise to the project. In addition
to their essays, Julia Bryan-Wilson, Jon Hendricks, Clive Phillpot, David Platzker,
and Midori Yoshimoto conducted interviews with key figures from the period, which
will appear on the exhibition Web site. We would like to express our appreciation to
the interviewees, who shared their recollections of Onos work from 1960 to 1971,
including John Dunbar, Simone Forti, Jean-Jacques Lebel, Nicholas Logsdail, Jonas
Mekas, Gustav Metzger, Jeffrey Perkins, Takahiko iimura, and Klaus Voormann. We
also thank Midori for patiently helping us with translations and liaising with contacts in Japan, including Ay-O, Minoru Hirata, and Khei Sugiura, who graciously
shared their memories of Onos time in Tokyo. This catalogue benefits from a number of photographs that have never been published before. We are especially grateful to Barbara Moorewho spent hours poring over Peter Moores files with our
exhibition teamand to Gloria McDarrah, who generously provided access to Fred
McDarrahs contact sheets. We thank photographer Kishin Shinoyama, who traveled
to New York with his assistant to capture the images on the front and back covers of
this catalogue.
8
The publication could not have come together without the skill and rigor of the
Museums Department of Publications. We thank Christopher Hudson, Publisher;
David Frankel, Editorial Director; Chul R. Kim, Associate Publisher; Marc Sapir,
Production Director; and Hannah Kim, Production Coordinator. Editor Kyle Bentleys
meticulous handling of the texts greatly improved the publication. Designer Chad
Kloepfer readily embraced our challenge to respond to Onos 1971 Museum Of
Modern (F)art catalogue, subtly nodding to the period while always looking forward.
Our colleagues at the Museum enthusiastically supported and guided the exhibition through its many stages. Director Glenn D. Lowry and Associate Director
Kathy Halbreich were committed to the show from the very start. Glenn gave us
crucial advice throughout the project, and Kathy was always there for us, sharing
her keen understanding of the artists work every step of the way. We are grateful for the steadfast dedication of James Gara, Chief Operating Officer; Ramona
Bannayan, Senior Deputy Director for Exhibitions and Collections; Peter Reed,
Senior Deputy Director for Curatorial Affairs; and Todd Bishop, Senior Deputy
Director for External Affairs. Our sincere thanks are also due to Quentin Bajac,
The Joel and Anne Ehrenkranz Chief Curator of Photography; Stuart Comer, Chief
Curator, Department of Media and Performance Art; Rajendra Roy, The Celeste
Bartos Chief Curator of Film; and Ann Temkin, The Marie-Jose and Henry Kravis
Chief Curator of Painting and Sculpture.
The exhibition benefited from the skill of Carlos Yepes, Associate Coordinator, and
Erik Patton, Associate Director, Exhibition Planning and Administration; Sacha
Eaton, Associate Registrar; Aaron Louis, Director of Audio Visual, and his industrious team; Ingrid Chou, Associate Creative Director, and her colleagues in the
Department of Advertising and Graphic Design; Robert Kastler, Studio Production
Manager, Thomas Griesel and John Wronn, Collections Photographers, and their
associates in Imaging and Digital Resources; Peter Perez, Shop Foreman; and the
art handlers under Rob Jungs leadership. Betty Fisher, Senior Design Manager,
with the support of Lana Hum, Director, Exhibition Design and Production, traveled to Europe in order to better understand Onos favored modes of display. Patty
Lipshutz, General Counsel, and Nancy Adelson, Deputy General Counsel, gave
us much-needed support and precious time, always suggesting creative ways
to make our project possible. We also thank Michelle Elligott, Chief of Archives;
Milan Hughston, Chief of Library; Jennifer Tobias, Librarian; Wendy Woon, Deputy
Director for Education; Pablo Helguera, Director, Adult and Academic Education;
Sara Bodinson, Director, Interpretation and Research; Sarah Kennedy, Associate
Educator, Lab Programs; Lizzie Gorfaine, Performance Producer; Karl Buchberg,
Senior Conservator; Erika Mosier, Conservator; Lauren Stakias, Director of
Exhibition and Program Funding; Maggie Lyko, Director, Special Events and
Affiliate Programs; Kim Mitchell, Chief Communications Officer; Margaret Doyle,
Director of Communications; and Paul Jackson, Communications Manager.
The exhibition and publication were truly a shared endeavor by the entire staff
of the Department of Drawings and Prints and the Office of the Chief Curator at
Large. Department of Drawings and Prints Manager John Prochilo provided key
organizational support. Alex Diczok, Assistant to the Chief Curator of Drawings and
Prints; Laurel Lange and Renee Jin, Directors Office, MoMA PS1; and Elizabeth
Henderson from the Office of the Chief Curator at Large masterfully handled seemingly irreconcilable schedules. The team responsible for processing the 2008 Fluxus
acquisition prepared works for the catalogue and exhibition. For this we thank David
Platzker, Curator; Kim Conaty, Assistant Curator; Katherine Alcauskas, Collection
Specialist; Emily Edison, Senior Cataloguer; Rebecca Mei, Cataloguer; Sydney
Briggs, Associate Registrar; Peter Butler, Collections Photographer; and Louise
Bourgeois 12-Month Interns Heidi Hirschl and Jennie Waldow. In addition, wed like
to extend our gratitude to preparators Jeff White and David Moreno and department
assistants L.J. McNerney and Tara Burns for their dedicated assistance.
9
We thank the Modern Womens Fund for supporting two internships for the Yoko
Ono exhibition. Cameron Foote, our first Modern Womens Fund 12-Month Intern,
helped commence the initial phase of research. He suggested catalogue writers,
wrote drafts for most of the artwork descriptions, and spent a year fully immersed
in every aspect of Onos work. He also provided indispensable assistance with
Klaus Biesenbachs essay, as did Julia Lammer in the MoMA PS1 Directors Office.
We thank them for their incredible research and collaboration. Whitney Graham,
Modern Womens Fund 12-Month Intern from 2014 to 2015, deftly helped usher
the catalogue and exhibition through to their completion, finalizing the books bibliography, writing exhibition wall labels, and assisting with performances. Esther
Adler, Assistant Curator, joined the curatorial team midway through the project and
offered tremendous insight on the various texts in the catalogue.
Neither the exhibition nor its catalogue would have been possible without the
extraordinary talent, remarkable intelligence, and tireless energy of Francesca
Wilmott, Curatorial Assistant in the Department of Drawings and Prints. Francesca
lent us her joie de vivre throughout the many months of our research and enabled
us to overcome every one of the many challenges we had to face. This project is
as much hers as it is ours.
At every moment, those close to us, Amy ONeill in particular, offered essential
support that allowed the project to keep moving forward.
Finally, we express our deepest gratitude to Yoko Ono, whose singular vision and
unerring generosity has guided us throughout the project. She has been immersed
in every stage of this exhibition and catalogue, welcoming us into her home and
providing unfettered access to her collection and archive. The poetic and incisive
work that Ono created from 1960 to 1971 has remained remarkably contemporary,
both attuning us to our present moment and always encouraging us to look toward
the future.
Klaus Biesenbach
Chief Curator at Large, The Museum of Modern Art
Director, MoMA PS1
Christophe Cherix
The Robert Lehman Foundation Chief Curator of Drawings and Prints,
The Museum of Modern Art
11
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CHRISTOPHE CHERIX
role in her work. The text starts, for instance, with people turning their bodies to the
skya sky too high, the narrator puzzlingly observesand ends with an almost
magical wind, which crossed over the table, and gradually dried up the pasted skin
and the row of the [grapefruits] seeds. These motifs of the sky and the wind reappeared with force in the 1960s in a number of Onos works, such as Painting for the
Wind (1961) and the media installation Sky TV (1966), which broadcasts in real time
an image of the sky on a television monitor. Of a Grapefruit in the World of Park, in
which nature, through the sky and the wind, bookends the story, shows that already
in the mid-1950s Ono counterbalanced images of violence and darknessthe closing, for instance, tells us that all vanished together into darknesswith moments
of pure contemplation and utter serenity.
Around the time that Ono wrote Of a Grapefruit in the World of Park, she also
started performing, privately and among friends, one of her oldest recorded works,
Lighting Piece (pl. 25). The piece, which was not publicly presented until the 1961
Carnegie Recital Hall concert,3 similarly brings together elements of plain beauty
and latent violence. The instruction simply states: Light a match and watch till it
goes out.4
One of the overarching characteristics of Onos work is that it doesnt always require
a public setting, such as a gallery, a museum, or a theater, to exist. It represents a
notable shift from a past generation of artists dealing with the readymade and the
everyday. Some of the most daring works of the twentieth century, from Marcel
Duchamps Fountain (a urinal on a pedestal) to John Cages 4' 33" (a musical score
according to which performers are required not to play their instruments), are difficult
to understand without taking into account the public nature of their presentation.5
When A Grapefruit in the World of Park was presented to the public in 1961, the
text (figs. 4 15) was significantly different, both in its syntactic structure and its
symbolic connotations, from the earlier version. Ono preserved details from the
originalsuch as the skys being too high and the need to purchase all the picnics food with ten dollarsbut edited the wording, redistributing the material and
intertwining it with new text. The piece, now divided into twelve parts, reads not
as a story but rather as a long freeform poem. The grapefruit itself takes on new
significance with the added verses. The fruit is no longer fresh and juicy, but dry
and wrinkled. The phrase baby carriage appears isolated in a strophe, devoid of
any connection to the rest of the poem, and a chorus emphasizes even further the
poems morbid tone:
lets count the hairs of the dead child
lets count the hairs of the dead child
At the Village Gate, Ono read the text onstage, while various contributorsCage,
Ichiyanagi, David Tudor, and La Monte Young, among others 6performed according to her instructions, for instance by laughing aloud or playing atonal music. The
piece fit well into the New York avant-gardist atmosphere of the moment. At times,
the work was irreverentas when a toilet was heard flushing during the action
and at others somber and dark, but as a whole it was deeply personal and experimental in its attempt to bring together poetry, music, theater, and performance.
The grapefruit, a citrus hybrid, would soon become a metaphor for hybridity in
Onos work, conveying both a personal point of viewher crossing of the Eastern
and Western worldsand a new artistic approach able to combine existing disciplines. When, in 1964, Ono self-published a collection of her instruction works
in Japan, a book of prophetic importance to the art of the 1960s, she titled it
Grapefruit, capturing in a single word a period of her life.
Grapefruit (pp. 100 105) is divided into five chapters. One of them, the second,
is devoted to painting. The emphasis is surprising for an artist who had previously
14
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CHRISTOPHE CHERIX
shown little interest in traditional painting. Rather than images of paintings, the
publication offers instructions for paintings in which the paint and brush are often
relegated to a secondary role. A number of these instructions were realized on the
occasion of the artists first solo exhibition, at AG Gallery, New York, in July 1961
(pp. 5867). At least three of them had already been enacted a few months earlier,
during the Chambers Street Loft Series (pp. 4853), a run of performances and
concerts held in Onos loft.
At AG Gallery, in at least two instances, Ono presented a text written on a sheet of
paper next to an exhibited work. In 2008, she mentioned that she had asked Toshi
Ichiyanagi to write out cards explaining the functions to display on the side of each
painting . . . [but] he managed to write [only] two cards. 7 The text, from 1960, for
Painting to Be Stepped On (1960/1961; pl. 13) states:
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CHRISTOPHE CHERIX
A WORK TO BE STEPPED ON
For Painting in Three Stanzas (1961; pl. 11), a piece of canvas with a vine stuck
through it, we read:
It ends when its covered with leaves,
It ends when the leaves wither,
It ends when it turns to ashes,
And a new vine will grow, __________
The first text offers the viewer the opportunity to physically interact with the work
even at the risk of damaging itwhile the other implies that a number of upcoming
changes in the painting, not explicitly dependent on the participation of the viewers, need to happen for the work to be complete. According to Onos explanation,
these texts state the functions of the exhibited worksso, in other words, the
particular activities intended for each painting. The works on display all had some
function, Ono further explicated.8 Painting to Let the Evening Light Go Through
(1961) filtered the light at the end of day, while two pieces titled Waterdrop Painting
(1961; pl. 14) received drops of water.
The status of the texts displayed in the exhibition, or of the verbal commentaries
that replaced them when no text was given, is different from that of the instructions shown by the artist the following year, at Sgetsu Art Center in Tokyo. On this
occasion, the instructions, composed and translated by Ono and handwritten in
Japanese by Ichiyanagi, were simply hung on the walls, clearly meant to be considered works themselves (pls. 2831). In 1995, Ono explained: I did a show of
instruction paintings at AG Gallery in New York, but that was exhibiting canvases
with instructions attached to them. Displaying just the instructions as paintings
was going one step further, pushing visual art to its optimum conceptualism.9
Most of the works shown at the AG Gallery are presumed to be lost, and only
a few have been realized again by the artist since the exhibition. We know the
content of the show thanks to photographs taken by one of the gallerys founders, George Maciunas. Maciunas treated photography as a means to create an
inventory of world art, 10 photographing, for instance, building facades, details of
sculptures, and city views with a very sharp focus in the depths of the image,
devoid of human beings and traffic. 11 He shot Onos exhibition with the same eye
toward intelligibility and comprehensiveness that he demonstrated in his previous photo campaigns. The works are unexpectedly documented at close range,
with only a few overall installation shots, as if the photographer considered the
paintings to exist primarily on their own and not necessarily in their relationship
to the visitors.
Overall, the works didnt compete with the architecture but let themselves be
absorbed by it. Ono seems to have intentionally positioned her paintings, made of
unprepared canvas, against the rough brick walls and on the worn tiled floor, and
her drawings, consisting of black ink on white paper, on the plastered white walls.
The impression of the work merging with its surroundings was reinforced by the
hanging of ink drawings on both sides of the translucent screen, two on the front
side and one on the back.
At AG Gallery, the feeling of a unified display was further reinforced by the fact that
all the pieces of canvas had been cut from the same roll, which Ono had acquired
a few months earlier from an army surplus shop during the Chambers Street Loft
Series. A photograph shows that a large portion of canvas had been hung in the
loft, essentially creating a makeshift backdrop and surface for actions performed
by the artist.
Onos contributions to the Chambers Street Loft Series and the staging of her
first exhibition attest to how crucial a role the environment plays in the conception
of her work. A similar interest is seen in a body of work made a decade earlier:
Robert Rauschenbergs White Paintings, created at Black Mountain College, in
North Carolina, during the summer of 1951. Cage, who was a friend and supporter
of Ono, first captured the groundbreaking nature of Rauschenbergs achievement,
when, in 1961, he described the monochromatic panels as airports for the lights,
shadows, and particles. 13
Neither Onos early paintings nor Rauschenbergs White Paintings are to be understood solely in relation to their materiality. What gives them the status of works of
art is less the canvases that constitute them than the process of interaction and
change triggered by their display. In some ways, they exist only while they are being
experienced, very much as live performances would. As Rauschenberg explained,
My black paintings and my white paintings are either too full or too empty to be
thoughtthereby they remain visual experiences. These pictures are not Art.14
Similarly, Onos works are not intended as art in and of themselves. Painting to Be
Stepped On, for instance, does not have to be stepped on, but it must be placed
on the floor, within reach of visitors. Its materiality remains secondary to its ability
to generate potential activities in the viewers mind. Perhaps like nothing before
itRauschenbergs White Paintings includedOnos works are performative by
nature. They exist primarily by means of their being shown to the viewer.
In November 1966, five years after the AG Gallery exhibition, Ono opened a show
at Indica Gallery in London (pp. 15863), only her second solo gallery exhibition to date. The presentation featured Onos first body of sculptures. For one of
these, she placed a fresh apple on a tall transparent pedestal that had been specially designed for it (pl. 70). The work comes with no instruction: the engraved
plate affixed to the pedestal contains only a title, Apple. If Apple can be seen as
The AG Gallery was located on the second floor of a small building on Madison
Avenue, on New Yorks Upper East Side. Maciunas made a number of significant
18
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CHRISTOPHE CHERIX
20
21
POSTERIORS
NOTES
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
In a sketch from 1971, part of a book of ideas for a possible one-woman intervention
at The Museum of Modern Art, Yoko Ono drew images and wrote directives for an
imagined exhibition called Posterity Show (fig. 1).1 Over the course of four frames
and in the description that accompanies the drawings, Ono lays out her vision for
a participatory work that would progress as the evening unfolded, in which the
backside of every person who attended the opening was photographed for world
peace. Illustrated by renderings of a variety of cropped cheeks hung on a wall, the
text continues, They were instantly blown up to appropriate size and exhibited in
the posterity showroom. Onos speculative piece (written in the past tense, as if
it had already happened) incorporates and annexes the presumed spectators of
the show, putting them, and their vulnerable bodies, on display. Along with providing simple renderings of their naked forms from behind, she labels some of her
potential subjects: Salvador Dal, Truman Capote, Jacqueline Onassis. One frame
shows a photographer at work with his camera and tripod, and Ono explains that
the pictures would later be aggregated into wallpaper for purchase, with proceeds
benefiting the United Nations Childrens Fund (UNICEF, here spelled UNISEF).2
With this unrealized project, Ono crystallizes her unique brand of corporeal institutional critiqueakin to what Chrissie Iles has dubbed the erotic conceptualism
in Onos film works 3as she conjoins bared buttocks, upended museum protocol, and global politics. Playing on the close proximity of the words posterity and
posterior, Ono offers a raucous alternative vision of a future art world that is concerned with de-hierarchizing the artist, stripping down the audience, and securing
world peace. These were issues she dealt with often, as in previous works like her
instruction paintings and scores; her billboard project WAR IS OVER! (1969 ;
pp. 200203), conceived with John Lennon; and films including the two works
titled Film No. 4 (196667; pp. 16467), compilations of ambulating asses that she
considered a petition for peace. 4
In Posterity Show, Ono blurs the public/private division, honing in on, uncovering,
and celebrating a body part often associated with shame, excrement, and scatology; the divide is further complicated when, according to Onos plan, the butt pictures enter the realm of the domestic as decorative wallpaper. Art historian Mignon
Nixon astutely grasps the double nature of Onos utilization of the derrire, noting
that Film No. 4 is both hypnotic and sweetly sixties as a reminder of a decade
of love as well as a performance of a mock march. 5 Infantile but also militarized,
the trooping backsides are a fraught locus of innocence, pleasure, and sensuality,
but also disgrace, training, and parental discipline. In Freudian language, a fixation
on the anal is an indication of psychological devolution or a return from a higher
to a lower state of development. 6 Onos bodies advance as they regress, a rejection of Freuds terms and an implicit embrace of one of the least gender-specific
erogenous zones (neither breast nor genitalia). Evoking looping bodily rhythms,
oscillations between past and present, swerves away from strict linearity, fleshy
reminders of physical processes that are not predicated on a male/female binary,
Onos forward march of behinds prefigures and modulates what French theorist
Julia Kristeva would, later that decade, call womens time. 7
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JULIA BRYAN-WILSON
23
In another drawing from Onos 1971 sketchbook (fig. 2), labeled people who
attended the opening, we see a cast of celebrity characters that includes Jackie
O flanked by two bodyguards, Dal and two female friends (the three appearing to
have arrived already naked), Richard Nixon smiling from his presidential car, and
Andy Warhol surrounded by his superstars. A flag reading Museum delimits the
otherwise unelaborated setting. The notebook is brimming with musings on how
to make the Museums architecture and contents more irreverent, with a decidedly
feminist bent, including thoughts about using art as a household object (making a Henry Moore piece into a diaper hanger, for instance, a version of Marcel
Duchamps suggestion to turn a Rembrandt into an ironing board), dressing sculptures in drag, and staging a large-scale adaptation of Onos legendary performance Cut Piece (1964; pp. 1069), in which the audience would cut off each
others clothes.8 These drawings provide a glimpse into Onos own process, with
her wide-ranging ability to reimagine assumptions about how both art objects and
spectators are expected to function within institutional contexts. They also indicate
that The Museum of Modern Art, in 1971, was understood (not least at its exclusive
openings) as a gathering place for the rich, the famous, and the powerful, a destination for those renowned in culture as well as in politics, who came to be seen
as much as to see the art. Clever move, Ono notes about Nixon, whose arm is
raised in his signature gesture.
FARTS
In November 1971, Ono launched her piece Museum Of Modern (F)art (pp. 208
13), which centered on a conceptual exhibition at The Museum of Modern Art. She
advertised the show in The Village Voice and the New York Times, including a mailorder form for the catalogue, priced at one dollar.9 The ad (fig. 3), reproduced on
the cover of the catalogue, features a manipulated photo in which Ono has placed
the Museums name on an awning above the main entrance, using a structural
indentation to create a large gap between the last two words. The image appears
to catch the artist at a moment when she strolls by below the gap, which is symbolically filled by the big F on a shopping bag she carriesthe institution thus
being renamed the Museum of Modern Fart.
Held from December 1 to 15, 1971, without the Museums consent, the exhibition
involved a man wearing a sandwich board who walked outside the entrance on
53rd Street from 9 A.M. to 6 P.M. wearing a sign that read:
flies were put in a glass container the same volume as yokos
body the same perfume as the one yoko uses was put in the glass
container the container was then placed in the exact center of the
museum the lid was opened the flies were released photographer
who has been invited over from england specially for the task is
now going around the city to see how far the flies flew the flies are
distinguishable by the odour which is equivalent to yokos join us in
the search observation & flight 12/71.10
Midway through the two-week duration of the piece, the man wrote to Ono cataloguing some of the reactions he received, noting that the majority of believers
were between ages 1725, the majority of skeptics are between 3555. 11 He
included a more detailed breakdown of age groups and their responses, mentioning, for instance, that those between twenty-five and thirty-five were the most
violent . . . indeed quite lavish with their ripe expletives as I tried to explain. Indeed,
one even tried to put me through the window before I cleverly muttered some
nonsense about karate. 12 The correspondence indicates a couple of things: one,
that this man, perhaps predictably, met with a spectrum of sympathies and hostilities toward Ono (or, more precisely, toward a nonexistent show by Ono that was
advertised as actual), and two, that he was not a passive or silent sign-carrier
but an active part of the reception of the piece as he conversed with those on the
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JULIA BRYAN-WILSON
the visual rhetoric not only of advertising but also of dissent. In the 1960s and early
1970s, Ono made a number of bold feminist statements in a variety of mediums,
including her 1969 film Rape (a collaboration with Lennon); her song Sisters, O
Sisters (performed in December 1971 at a benefit concert for the Attica uprising);
and her 1972 text The Feminization of Society, published in the New York Times.19
Her defiant claim to a solo exhibition stood in stark contrast to the Museums walls,
which were, then as now, filled mostly with works by white men.20 Had she actually
had a one-woman show in 1971, it would have been one of very few solo shows
at the Museum to feature a woman, as well as the first by an Asian womanYayoi
Kusamas naked dancers infiltrating the Sculpture Garden in 1969, Grand Orgy
to Awaken the Dead at MoMA, which, akin to works by Ono, concerned stripped
bodies and antiwar proclamations, was not an officially sanctioned exhibition.
Indeed, Onos exhibition, read as a guerilla insertion by a woman of color with a
white man standing in as her paid surrogate to deflect blows and absorb compliments, was like a fart: an unwelcome emission, a vulgar, odorous eruption that
violates standard practices of museum respectability. With her Museum Of Modern
(F)art project, Ono, as matter out of place in the institution, harks back to the
asses of Posterity Show, reveling in the base, messy, embarrassing, and personal,
and demonstrating the opposite of prim art-world comportment. Onos interest in
low bodily functions has been linked to Fluxus impresario George Maciunass own
scatological inclinations, as seen in his design for her thirteen-day dance festival in
1966 (pl. 59). This grid of images includes, among other vignettes, a man either farting or shitting out the words DO IT YOURSELF FLUXFEST PRESENTS and a finger inserted
into an anus. However, Onos embrace of leaking, inappropriate bodies can also be
placed in dialogue with other explicitly feminist practices of around the same time
that were concerned with excretions, such as Judy Chicagos Red Flag of 1971, a
photolithograph of a woman pulling a red-hued tampon out of her vagina. Though
farting is gender-neutral (and prohibitions about passing gas in public apply to all),
menstruation is not, and Chicagos work startlingly exposes a ritual that is constantly performed by women but very rarely depicted. Menstruation has been so
concealed as to invite the violation of the taboo, notes feminist critic Lisa Tickner. 21
FLIES
The polluting cloud of gaseous bad air proposed by Onos fart is riffed on, and
inverted, by photographs taken by Iain Macmillan and the artist and compiled in the
accompanying catalogue, which claim to document the perfumed flies that Ono has
released in the Museums Sculpture Garden. An image constructed by photomontage depicts Ono standing in the garden beside a large glass container dense with
insects. (The portrait component of this image had been cut from the catalogue for
her 1966 exhibition at Indica Gallery, London [pp. 15863].) In the next image, she
is nowhere to be found, and the container is almost empty, with flies trickling out of
its thin neck (pl. 96). Instead of carrying associations of waste and bad smells, the
flies Ono imagines releasing are sweetly scented with Ma Griffe (the perfume bottle
is shown nearly half-full in one photograph and closer to empty in another, as if to
constitute proof that it was used to anoint the flies), as they alight within and beyond
the museum building. Flight, flying, and the wordplay possible between the noun
and verb forms of fly had long fascinated Ono, as evidenced by works including
her 1963 instruction that states, simply, fly and her 1970 film Fly (pp. 2047),
which shows flies landing on and navigating a womans body.
In the Museum Of Modern (F)art catalogue, she uses flies as a narrative device
for a series of 138 photographs that acts as a rambling travelogue through the city,
with the fly in each frame pointed out with a crisp white or black arrow (pl. 97).
(That they are in the photographs at all is as much a matter of faith as the rest of
the project; purporting to release something that is unseen in the final images,
Onos piece can be compared to Robert Barrys Inert Gas Series from 1969.) The
flies meander through the galleries, flitting near works by Picasso and Matisse, and
To what extent Ono, an antiwar, nonwhite feminist, might have sensed affinity or
solidarity with these various causes is an open question, but it is nonetheless
notable that her sandwich-board man came on the heels of this intense period of
agitation at the foot of the Museums door, and thus the work is in dialogue with
26
27
JULIA BRYAN-WILSON
eventually head out to the street, making appearances at public parks, churches,
office buildings, bridges, empty lots, artists studios, and construction sites. Some
of the images are off-kilter postcard views of New York, showing familiar sites,
such as the New York Public Library, the Metropolitan Museum of Art, the skating rink at Rockefeller Center, the twin towers of the World Trade Center nearing completion. Others portray less picture perfect aspects of city life, with men
sleeping on benches, graffiti, firefighters gathering at a crisis, and crowded shop
windows on Canal Street and in Chinatown. One exceptional sequence of five
photos focuses on a group of young boys posing with full awareness of the camera
as they cluster around a wooden cross and mug for the lens (arrows directing us to
the flies appear only in the last frame), but most pictures seem to have been taken
candidly, unbeknownst to the people in them.
Each photo with an arrow is adjacent to a postcard that shows a detail of a fly (numbered), so that the viewer might send the flies even further, beyond the bounds of
the book. As Ono put it, All the pages are postcards that you could mail, so the
catalogue and Fly piece could fly all over the place. 22 Given its varied affective
tone, its persistent return to some locations, and its hybrid inclusion of everything
from considered landscapes to intimate interiors to street snapshots, the photo
book might be situated somewhat uneasily within what has been perceived to
be the central rubric of conceptual photography, such as that of Douglas Huebler
or Hans Haacke, in which the camera is used to record in as straightforward a
manner as possible.23 Yet now-dated assertions of the ostensible neutrality of the
documentary image in conceptual photography have been challenged on multiple
fronts (as if any image could be neutral), and Onos book, with its focus on mapping and spatiality, its pursuit of an arbitrary structure, and its inclusion of the
graphic elements of the arrow and the postcard format, in fact emblematizes many
of the themes and aesthetics of conceptual photography. Museum Of Modern
(F)art calls to mind 100 Boots, the mail-art project begun by Eleanor Antin in 1971,
in which a troupe of boots carried out an epic journey across the country. They
went to work, went to war, went shopping, and more, and their adventures were
documented in a series of postcards mailed to about a thousand recipients, culminating in 1973 when, en masse, the boots entered the front doors ofwhere
else?The Museum of Modern Art.
The overall tenor of Onos book is one of high and low mixing, in which the most
refined sites are juxtaposed with some of the most ordinary, all of them marked by
the presence of the common irritant, the fly. Not unlike farts, flies are often perceived
as unhygienic; they are hallmarks of unsanitary conditions, swarming around refuse
and transmitting disease. Yet Ono suggests that flies, with their compound eyes that
see many perspectives at once, might be model viewers, offering a different scopic
regime for confronting multifaceted art. In addition, the photos follow flies as they
take a welcome, unpredictable path through the Museumseeing paintings, yes,
but also wandering through corridors. As the flies easily traverse the inside and the
outside, they reveal the porousness of the Museum and the city.
The penultimate photo (taken by Ono herself) is of a sleeping John Lennon, an
arrow pointing to an invisible fly near his ear. The book concludes with a picture of
the Museums ticket counter, where the Village Voice ad has been displayed with a
handwritten addendumTHIS IS NOT HEREpresumably affixed to the glass to set
straight confused visitors coming to purchase admission for a show that was not on
view (fig. 6). As Kevin Concannon comments, the statement itself could have contributed to the confusion, as the wording of Art echoes exactly the title of her thenrecent retrospective at the Everson Museum of Art in Syracuse.24 Onos exhibitionas-proposition forced the Museum into the awkward position of having to clarify
what it was not doing. Her assertion that she belonged, and that her show could
and should be in the Museum, resonated beyond New York and shared affinities
with strategies pursued by other underrepresented artists, as when the Chicano
collective Asco signed their names to the Los Angeles County Museum of Art,
28
29
JULIA BRYAN-WILSON
effectively appropriating the entire building as their own readymade Conceptual art
piece, in Spray Paint LACMA (Project Pie in De/Face) (1972).
FEMINISMS
Ono was not alone in conceiving a feminist critique of art-world conventions and
enacting it within the museum space itself. Mierle Laderman Ukeles carried out
her Hartford Wash: Washing Tracks, Maintenance performance in 1973, laboring
publicly to clean the floors and vitrines of the Wadsworth Atheneum in Hartford,
Connecticut, and thus drawing attention to the invisibility of womens work both
in the domestic sphere and elsewhere. That same year, Argentine artist Marta
Minujn orchestrated her Kidnappening, in which preselected visitors at a Museum
of Modern Art cocktail party were kidnapped by conspiratorswhose faces were
made-up to resemble those of Picassos Cubist figuresand taken to different
locations (fig. 7).
Ono has long been recognized as an important figure in both feminist and Conceptual
art. Her work was included in the film program and catalogue for Information, the
early survey of Conceptual art held at MoMA in 1970, and in the pioneering 1999
show Global Conceptualism, organized by the Queens Museum of Art.25 The catalogue for the latter show mentions Ono as a forerunner in both Japan and the
United States.26 Ono moved between London, Japan, and the United States for
decades (though she has been settled in New York since 1971); she is thus an
interesting test case for Terry Smiths proposition that conceptualism was an outcome of some artists increased global mobility. 27 However, though her work was
formally and conceptually groundbreaking, she continues to be under-recognized
as a significant influence on her contemporaries. Unlike most other artists, Ono
had to contend with and respond to the special scrutiny of being thrust onto an
international stage and subject to the harsh glare of the media spotlight. She was
watched, admired, and despised in her many roles as artist, performer, musician,
mother, and wife.28 Art historian Joan Kee writes that for women artists from Asia
who exhibit in the US and Europe, the emphasis on the individual . . . results in the
subordination of the work to a host of other concerns.29 In Onos case, the prominence of her personal story continues to outstrip attention to the work itself.
Yet there is always something about Onos oeuvre that has not sat easily within
canonical tales of contemporary art; perhaps it is her persistent interest in the
unmentionable aspects of bodies, with their excesses and strangeness. In some
of the most profound images of her at work, she is sheathed in a bag, a shapeless
and uncanny lump. First performed in 1964, it is Bag Piece (fig. 8, pp. 110 13) in
all its iterations to which she has returned most frequently (its earliest incarnation
was as a related work seen at Carnegie Recital Hall in 1961). Bag Piece presents
body as stuff, as matter, as a heap of meat that emerges from a sac and from then
on must be tended to and cared for, that shits and laughs and cries until the end,
when, in some instances (including, notably, war casualties), it ends up in a bag. It
is here that her conception of the body as a permeable bag is at its most evident.
By focusing on rear ends, flies, and farts within the decorous space of the art institution, and asserting that her actions serve as a call for peace, Ono links her interest
in sexual freedom and body innocence with larger issues of liberation.30 She also
scrambles temporalities by moving between a backward look to the what has been
(the literally behind) and the potential of the what could be. In some respects, museums act as guarantors of history while also addressing themselves to and securing
the future, holding a carefully selected narrative of the past within their walls to lend
shape and meaning to the present. In the early 1970s, Ono and others sought to
expose how flawed and incomplete such accounts of history are. Marrying the temporality of posterity with the materiality of the posterior, Ono created her own version of institutional critique informed by feminism, at a moment when both of these
contested categories were being consolidated within the art world.
NOTES
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
30
31
A photograph shows Yoko Ono standing at the center of The Museum of Modern
Arts Sculpture Garden. Beside her on the ground is a large glass jar teeming with
black flies and a few drops of Onos perfume, Ma Griffe. In the next image Ono
is absent and the jar is almost empty, as the flies dissipate into the environment
(pl. 96). These two photographs were published in a catalogue for the artists 1971
exhibition Museum Of Modern (F)art at MoMA, a show that in fact never happenedat least not in any conventional sense. Ono had advertised the show in
The Village Voice and the New York Times, and some people even traveled to the
Museum to see the art of this already widely recognized avant-garde figure. Yet
the exhibition was a conceptual artwork by Onono pieces by her were on view in
the galleries, and the show was not sanctioned by the Museum. The photographs
of the flies being released in the Sculpture Garden were not straight documentary
images but photomontages; Onos figure, for instance, had been cut out from a photograph published in another exhibition catalogue five years earlier, and had been
collaged by Ono into the garden setting.1 The 1971 self-published catalogue also
contained photographs, taken throughout the Museum and New York City, on which
superimposed arrows indicated spots where flies had supposedly landed. A few short
texts by Ono described her work and indicated that readers could chart the progress
of the flies in a list, or could cut out postcards from the book to send to their friends.
More than four decades after Ono carried out her conceptual project, she has now
been given a solo exhibition at the Museum, focusing on the period between 1960
and the year of her conceptual show.
Onos art from this period is run through with a complex interplay between her
own absence and presence. At times, she created purely conceptual works,
such as her instruction pieces, which are often just thatinstructions that can be
executed by whoever reads them. She kept these texts free of her handtyping
them or having them handwritten by someone elseand their enactments do not
necessarily require her to be present, or can be enacted in ones imagination.
Performance, as an art medium, often requires an artists physical presence as
part of its meaning and effects; even here, though, Onos landmark 1964 works
included performances as different as Cut Piece (pp. 1069), to which her appearance was initially central, and Bag Piece (pp. 11013), in which she was present
but hidden in a bag, and which can also be performed by other people. Over time,
Ono was able to turn her complex handling of artistic presence and absence into
a sophisticated treatment of a public image, which allowed her to reach a broad
audience with her artistic and political messages.
By the early 1950s, Ono had come up with a radically different form of expression.
Her earliest conceptual artworks were instruction pieces, which, drawing inspiration from music, separated scores from performances. Rather than putting her
own self at the center of the artwork, Ono wrote instructions that could be interpreted by anyone, even in her absence.
Ono recalls making her first conceptual piece in the backyard of her parents
house in Scarsdale in 1953. She remembered a musical composition exercise
that she had been given in kindergarten in Japan, and it became her habit to
32
KLAUS BIESENBACH
33
translate sounds into musical notes. She soon realized, however, that the complicated patterns that she heard could never be captured exactly. Confronted with
the beauty of experience, she felt, You dont have to transpose. There is another
way of doing it. 2
Ono would write many instruction works over the coming years, assembling them
in 1964 in the book Grapefruit (pp. 1005), which served as a kind of portable
museum of her artwork to date. Beginning in 1970, new editions of the book ran
into the hundreds of thousands of copies and were widely distributed. The instructions in the books first edition are difficult to characterize; some are relatively
straightforward to carry out, others are more enigmatic, and suggest the artists
emotional life. Hinting at her complex relationship to notions of presence and
absence, to revealing versus concealing, Mask Piece I instructs:
Make a mask larger than your face.
Polish the mask every day.
In the morning, wash the mask instead
of your face.
When somebody wants to kiss you,
let the person kiss the mask instead.
1961 winter
Mask Piece I is about more than the enacting of an instruction: it speaks to the
notion of persona, alluding to the distance between a person/artist and the public
image that she or he performs. As such, it predicts Onos work as she went on to
become a globally recognized figure, developing a fame and stature that allowed
her to disseminate her ideas more widely.
Around the time Ono wrote Mask Piece I, she made her own presence and voice
a crucial part of her performance work. Her first solo concert was held at Carnegie
Recital Hall in November 1961 (pp. 6869). Consisting of a series of pieces,
the evening combined music, theater, improvisation, movement, and poetry. A
few days before the event, Ono noticed a professional Nagra tape recorder in
the office of the concerts producer, Norman Seaman. With his permission, she
used it to record short segments of her vocalized poetry. The tape deck produced
some unexpected sounds, which she decided to pursue further, manipulating the
machine. For some reason, she said, I turned it around so that . . . the tape was
going backwards, in reverse. . . . I thought, this is so beautiful, I better copy this. 3
In the concert, Ono layered the resulting recording over poetry that she read
live into a microphone, creating a texture of mumbled words and wild laughter. 4
This interaction of Onos live voice and her recorded voice served to merge her
physical presence with a more conceptual, and physically absent, version of herselfa mediated self, though one carried by her own, recognizable voice and no
one elses. Composers such as Richard Maxfield and John Cage had used tape
recordings, but Ono was unique in combining technology with expressive vocalization.5 She explained that in her musical output she always aimed to reach a pure,
spiritual sound . . . [that] goes beyond music in a way. . . . I was always thinking
in terms of inner struggle and creating things that are interesting because of that
inner struggle. 6
Ono began to attract more public attention with the Carnegie Recital Hall concert,
receiving reviews in the mainstream New York press.7 In 1962, she moved back
to Japan, where she would stay for the next 2 1/2 years. She conceived many of
her most iconic performance works during this period, including Bag Piece and
Cut Piece, which she publicly debuted in a solo concert in July 1964 at Yamaichi
Hall, Kyoto.
Although Ono treated these works like musical scores, varying them with each
performance, a persistent theme was a contrast between the artists absence and
her presence. Bag Piece emphasizes a sense of hiding, of wanting not to be visible, and also a sense of humor. For the Kyoto performance, Ono and her then husband, Anthony Cox, went onstage carrying a large black bag and got inside. For
several minutes, the audience viewed a dark lumbering form, as the performers
appeared to be removing their clothes inside the bag and then putting them back
on. Finally, they climbed out, looking more ruffled than they had before entering the
bag, and walked silently offstage. Although some sort of transformation had taken
place in front of the audience, its exact nature was unclear, as it was concealed
from view.
At the opposite end of the spectrum that evening was Cut Piece, which was completely dependent on Onos visible presence. Kneeling at the center of the stage,
Ono set a pair of scissors on the floor in front of her. The audience was instructed
to come onstage, one by one, and cut off a piece of her black clothing. Each person was permitted to keep his or her scrap of fabric. Powerful ideas were made
relatable through the sound of the cold metal scissors, the starkness of Onos
body, and the touch of fabric held in the pocket as a reminder of the act.8
For Ono, her physical body itself contributed a layer of meaning to Cut Piece. She
recently said of the 1964 performance of the work, I was very aware that I was
not in my best condition, bodily, and I thought that was good, you know, instead
of showing very beautiful me or something. I was there, a woman, who already
had a baby. 9 Ono realized the work several times over the next three years. She
would recall,
I went onto the stage wearing the best suit I had. To think that it
would be OK to use the cheapest clothes because it was going to
be cut anyway would be wrong; its against my intentions. I was poor
at the time, and it was hard. This event I repeated in several different places, and my wardrobe got smaller and smaller. However,
when I sat on stage in front of the audience, I felt that this was my
genuine contribution.10
This stunning act of offering up her best clothes and being absolutely bodily presentcontributing her own self to the workstands in contrast to the conceptual
and free-flowing instruction pieces and to a work like Bag Piece, the one relying
on the artists presence, the others on a kind of absence. Cut Piece, though, has
since taken various forms, with Ono encouraging other people to carry it out. The
artist and musician Charlotte Moorman performed the work from the 1960s into the
90s. Others, including men, have performed it as well, the work changing each
time depending on the contextjust like a piece of music. In such cases, the artist
herself is absent, but the work remains powerful.11
Ono encouraged the spread of her performance works by engaging with the press.
The transformation, rumor, and commentary that press coverage facilitated gave
her pieces a life beyond the moments when they were performed. Albert and David
Maysles filmed Onos performance of Cut Piece in her second concert at Carnegie
Recital Hall, on March 21, 1965.
In 2003, Ono herself performed Cut Piece again, in Paris, for the first time since
the 1960s. A full-page advertisement in the newspaper Libration, written by Ono,
explained the work in the context of the global conflict in the wake of 9/11.12 She
explained more recently, I thought it was good to show that an artist can be serious about it, that an artist can put their life . . . on the table. 13 A significant change
between Onos 1960s performances of Cut Piece and her 2003 performance was
the immense growth in her global fame, and the vulnerability that came with it.
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KLAUS BIESENBACH
Through the modern media, Onos complex approach to issues of presence and
absence grew into a sophisticated handling of a public image, which allowed her
to advance her artistic and political messages. Her access to the press, and the
growth of her persona, were enhanced by her relationship with John Lennon.
Ono first met Lennon at the Indica Gallery, London, on November 8, 1966, while
preparing for the opening of her solo show there the following day. Lennon sponsored Onos next exhibition, at the Lisson Gallery, London, from October to
November 1967, even contributing an idea to the project. By 1968, the two had
become romantic and artistic partners.
Ono encouraged Lennon to pursue artmaking, and in July 1968 he opened his
first exhibition, You Are Here, at the Robert Fraser Gallery in London. Ono recently
recalled the experience of press exposure at the opening:
There were fifty or so reporters, and I thought we were just going
to go to the back room. But he said, No, we will just stand here
and let them take photos. . . . I think avant-garde artists, maybe
hypocritically, would just take the position that they would ignore
the journalists . . . And I thought that John is such a big person, he
is certainly not going to accommodate, but thats what he did. And I
thought, Thats what you do, thats very interesting. 14
Although Ono has always had a layered and thoughtful relationship to her public
image, her collaborations and relationship with Lennon challenged her previous
approach. She notes, I didnt think of myself as an image. John was an image.
And I thought, . . . its good to show that a woman is there too. 15
The media became a useful element in Ono and Lennons collaborations. In
1969, they staged two widely reported week-long events that they called Bed-Ins
(pp. 19899), employing music, humor, and other means to protest the war in
Vietnam. The first of these events took place at the Amsterdam Hilton Hotel, in
March, shortly after the artists wedding. Reporters from around the world were
invited into the couples honeymoon suite and attended gladly, perhaps expecting some scandal; instead they were asked to participate in a conversation about
peace. Lennon explained the tactic:
We did the Bed-In in Amsterdam just to give people the idea that
there are many ways of protest. . . . Protest for peace in any way, but
peacefully, cause we think that peace is only got by peaceful methods, and that to fight the establishment with their own weapons is
no good because they always win, and theyve been winning for
thousands of years. They know how to play the game of violence.
But they dont know how to handle humor, and peaceful humor
and thats our message really.16
During the Bed-Ins, the couple began to discuss new ways in which to use their
global celebrity for social causes. One result came in December 1969, when they
initiated Onos idea of the WAR IS OVER! advertising campaign (pp. 200203):
like the name of an international product brand, the phrase WAR IS OVER!, with
IF YOU WANT IT in smaller type below, appeared in twelve cities around the
world, through posters, billboards, newspaper advertisements, and fliers. An airplane was even hired to write the message in smoke in the sky above Toronto, in
advance of a press conference there that month. Ono continues to use a variety of
commercial advertising spaces as a medium.17
While Lennon may have increased Onos access to press outlets, it is important
to recognize that she employed the media before her encounter with the famous
Beatle. In the summer and fall of 1966, for example, in three consecutive issues
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KLAUS BIESENBACH
of the London-based arts periodical Art and Artists, she placed among the gallery
listings small, humorous instruction pieces encouraging readers to engage in playful actionsGo to Eros fountain and throw in all your jewelleries, for example.18
Ono is now the most publicly visible of the 1960s generation of experimental artists. At the time of writing, she has 4.72 million Twitter followers. Since her first
post on Instagram, on May 12, 2012, she has developed a striking visual signature
there: in many of her posts she is shown from the back, in silhouette (recalling her
image on the 1964 poster for Three Kyoto Events), wearing one of her characteristic hats (fig. 1). Ono says that her assistant took the first of these photographs
without her knowledge, but she allowed him to continue to record these moments,
as they are a new realization of her 1961 Hide Piece.
From 1968 onward, Ono and Lennon collaborated on musical productions that
merged Onos conceptual art and radical politics with her and Lennons musical
sensibilities and celebrity appeal. In the words of cultural critic Jrg Heiser, the collaborations transformed experimental avant-garde improvisation into a pop product. 19 Released in November 1968, and titled by Ono Unfinished Music No. 1:
Two Virgins, their debut album together was edited from recordings produced in a
single night of loosely structured experimentation. Lennon seems to uncover new
guitar tonalities that respond to and interweave with Onos primal vocal sounds.
The album-cover photograph depicts the couple facing the camera naked, at each
others side, while the back cover shows them from the rear, again naked. The
images and album title convey a sense of innocence; conceptually they also recall
Onos Cut Piece and Bag Piece, which toyed with the idea of the striptease and the
audiences expectation of bare flesh. In fact, after censorship issues arose over the
pairs nudity, the album had to be covered by a brown paper wrappera small hole
revealing the faces of the two virgins and the titleproviding a further, serendipitous collision with Bag Piece, as well as with Lennon and Onos idea of Bagism,
which proposed that everyone should wear a bag over themselves, circumventing
potential prejudices and allowing people to listen to one another better.
In 196869, Ono and Lennon created the Plastic Ono Band, based on her idea
of a conceptual band (pp. 19497). With this idea in mind, Lennon made a small
model that included a cassette case, the plastic cover of a vinyl-record cleaning
brush, and other domestic plastic objects, as if the plastic objects were replacing the musicians, like robots replacing human beings. The single Give Peace a
Chancewritten by Lennon and Ono during the 1969 Bed-In in Montrealwas
released under the Plastic Ono Band name and became an antiwar anthem. The
song was among those performed at a December 1969 benefit concert in London
for the United Nations Childrens Fund (UNICEF) titled Peace for Christmas, which
launched Onos and Lennons WAR IS OVER! campaign. Here, Ono and Lennon
coordinated a large group of musician friends to perform under the name Plastic Ono
Supergroup.20 The stage was decked with posters displaying their WAR IS OVER!
message, which was also printed on a huge fabric backdrop to the stage. The event
pioneered the now familiar form of the benefit concert with a social message.
The Plastic Ono Bands first studio albums were released in 1970 and titled Yoko
Ono/Plastic Ono Band and John Lennon/Plastic Ono Band. The cover photo on
Onos album shows the artist sitting under a tree in Lennons arms. Lennons album
cover had an almost identical photograph, but with the figures reversed. In 1971
Lennon and Ono coproduced the biggest hit of Lennons solo career, the song
Imagine (pl. 85), inspired by Onos concept of imagine in her work. The importance of the song as a message for peace and hope cannot be overestimated, and
it has taken on new meanings in the context of later global conflicts.
The first incarnation of the Plastic Ono Band came to an end in 1974. Through
the rest of the decade, Ono continued to create music on her own and with
Lennon. In December 1980, the pair were collaborating on the song Walking
2. A Story. Recorded 197475, released 1997. CD, 4 34 x 4 34" (12 x 12 cm). Rykodisc (est. 1983)
3. Season of Glass. 1981. Vinyl LP, 12 38 x 12 38" (31.4 x 31.4 cm). Geffen Records (est. 1980)
4. Walking on Thin Ice. 1992. CD, 4 34 x 4 34" (12 x 12 cm). Rykodisc (est. 1983)
5. Open Your Box. 2007. CD, 4 34 x 4 34" (12 x 12 cm). Astralwerks (est. 1993)
38
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KLAUS BIESENBACH
on Thin Ice. Following a productive day in the studio, they were walking into
their New York apartment building, the Dakota, when Lennon was shot dead. In
Onos music video for Walking on Thin Ice, images of a lake grow brighter and
brighter into all white and darker and darker into all black, making what you see
brighten until it is blindly empty and darken until it is a void. This too is a strategy
of absence and presence.
Onos next album, the LP Season of Glass, was released in 1981, with its cover
image by Ono showing Lennons bloodstained glasses beside a glass half-full or
half-empty of water, a view over Central Park in the background (fig. 3). Here, Ono is
absent, removed from the frame, yet the two objects seem to stand in for the couple.
Following a series of releases throughout the 1980s and 90s, Ono revived the
Plastic Ono Band in 2009 with the album Between My Head and the Sky, which
featured Sean Lennon and recording artists Cornelius and Yuka Honda. She has
since performed with the Plastic Ono Band a number of times, in line-ups including Eric Clapton, Paul Simon, Kim Gordon, Thurston Moore, Peaches, Iggy Pop,
Lady Gaga, and many more.
For over five decades, Ono has created works that are political and critical while
also managing to be beautiful and optimistic. When looking toward the future, and
thinking of how we can move forward, she refers to the act of uncovering, which
she places in contrast to that of discovering. In a 2014 text she wrote,
Everything that is around us all has miracles inside, if you just
uncover them. But uncovering does not come with prestige. You
dont get an award for uncovering things. To discover something,
you may need a special skill, even some credentials. You may have
to compete with a fellow man to achieve it. Uncovering can be done
even by your teenage son. So you may still prefer the drama of discovering. Since theres no glory in uncovering.21
Uncovering is a game of absence and presence. Onos art has uncovered not
only often concealed aspects of the act of engaging with an artwork (revealing, for
instance, the central role the viewer plays in its creation) but also the ways in which
cultural, social, and political life influence and affect each other. Looking back on
her conceptual 1971 exhibition at The Museum of Modern Art, we see that she
knew long ago that her groundbreaking practice warranted a solo exhibition there.
Forty-four years later, that show is finally a reality, with the same radicality and
presence it had when she first imagined it.
6. Yoko Ono performing at Glastonbury Festival, Somerset, U.K., June 29, 2014.
Photograph: Simon Hilton
NOTES
The author wishes to thank Cameron Foote, Modern
Womens Fund 12-Month Intern, The Museum of Modern
Art, and Julia Lammer, Directors Office and Development
Assistant, MoMA PS1, for their valuable assistance with
this text.
This photograph appears on the inside cover of YOKO at
INDICA (London: Indica Gallery, 1966).
2. Yoko Ono, interview with the author, August 2014.
3. Ibid.
4. Alan Rich, Far-Out Music Is Played at Carnegie, New York
Times, November 25, 1961. This volume, p. 76.
5. See Midori Yoshimoto, Into Performance: Japanese Women
Artists in New York (New Brunswick, N.J., and London:
Rutgers University Press, 2005), p. 91.
6. Ono, interview with the author, August 2014.
7. E.g., Rich, Far-Out Music Is Played at Carnegie, and Jill
Johnston, Life and Art, The Village Voice, December 7,
1961, p. 10. This volume, p. 77. Aside from group concert
reviews, her only previous press had been a short paragraph
by Gene Swenson on her exhibition at AG Gallery in 1961:
Smoke Painting, Artnews 60, no. 5 (September 1961). This
volume, p. 75.
8. For a detailed study of Cut Piece see Julia Bryan-Wilson,
Remembering Yoko Onos Cut Piece, Oxford Art Journal
26, no. 1 (2003):99123.
9. Ono, interview with the author, August 2014.
10. Ono, quoted in Kevin Concannon, Yoko Onos Cut Piece:
From Text to Performance and Back Again, PAJ: A Journal
of Performance and Art 30, no. 3 (September 2008): 89.
11. In 2008, for instance, the artist Jimmy Robert performed
Cut Piece at the Yokohama Triennale in Japan. Rather than
cutting off pieces of clothing, audience members had to tear
pieces of duct tape from the artists skin. The performace
complicated notions of race and gender in the work, allowing for new interpretations.
12.
13.
14.
15.
16.
17.
1.
18.
19.
20.
21.
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41
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43
1960 1962
On Sunday, December 18, 1960, Yoko Ono opened the doors of her New York loft,
at 112 Chambers Street, for an evening of piano and saxophone music headlined
by California composer Terry Jennings. It was the inaugural event in what became
known as the Chambers Street Loft Series (pp. 4853). Organized by Ono and La
Monte Young, a composer who had recently relocated from California, the series
featured programs by notable artists, musicians, and dancers, such as Henry Flynt,
Simone Forti, Jackson Mac Low, Richard Maxfield, Robert Morris, and Young himself.
On that brisk winter evening, at the threshold of the new decade, Ono helped initiate
a six-month series that was to significantly shape the direction of art in the 1960s.
Ono had discovered the fourth-floor walk-up through Japanese artist Minoru Niizuma
two months earlier, while visiting downtown Manhattan.1 Ono and composer Toshi
Ichiyanagi, her husband at the time, were living on the Upper West Side, working
various jobs and conducting cultural demonstrations for New Yorks Japan Society.
Born in 1933 in Tokyo, Ono had moved to New York State and enrolled in Sarah
Lawrence College in 1953. She had previously been studying at Tokyos Gakushuin
University, but wanted to be closer to her family, which had relocated to Scarsdale.
In 1956, Ono left her music composition and literature studies at Sarah Lawrence
to marry Ichiyanagi and pursue a life in New York City as an artist.
During the 1950s, Ono and Ichiyanagi established relationships with critical figures
in the New York art scene, including John Cage, whose class in experimental composition at the New School for Social Research inspired an interest in chance and
improvisation in the rising generation of artists and musicians.2 Although Ono and
her friends were beginning to find venues in which they could perform and exhibit
their work, opportunities were limited.
When Niizuma learned that Ono was looking for an affordable space in which to
present both her work and the work of others, he suggested renting a loft in downtown Manhattans warehouse district.3 Greenwich Village, approximately twenty
blocks uptown, had been the stomping ground of artists and musicians since the
Beat Generation colonized it in the mid-1950s. Midtown, meanwhile, housed New
Yorks blue-chip concert halls. Though it seemed illogical to open her space so far
south, Ono, after seeing the loft on Chambers Street, whose rent was $50.50 per
month, envisioned a new frontier in which artists could present their work without
the constraints of established institutions. The night after I looked at that space,
she recalled, I felt my whole fate was sealed. 4
Ono transformed the low-ceilinged, gray-paneled loft into a vibrant meeting place
for artists. She borrowed a baby grand piano from a friend and created makeshift
furniture with fruit crates.5 Her favorite feature of the space was its skylight. When
you were in the loft, she explained, you almost felt more connected to the sky
than to the city outside. 6
Jenningss program inaugurating the loft series extended over two evenings
and included multiple performers, setting a precedent for the ten events that followed. Though the series skewed toward experimental music, a number of programs also incorporated visual art, dance, and performance, such as Fortis Five
1960 1962
Dance Constructions & Some Other Things and Morriss large-scale installation
An Environment. Notable art-world personalities attended the series, including
Cage, Jasper Johns, Robert Rauschenberg, Marcel Duchamp, Isamu Noguchi,
Peggy Guggenheim, and Max Ernst, who visited around the time of his spring
1961 Museum of Modern Art retrospective. Ono, however, grew frustrated with her
male peers, who expressed little interest in her work. She reflected, There was
no mention that I should have a concert there, and I wasnt going to be the one
to mention it.7 Despite never featuring in a program of her own, Ono participated
in the works of others and presented, unannounced, at least six new pieces in
the loft: Kitchen Piece, Smoke Painting, Pea Piece, Painting to Be Stepped On
(pl. 13), Shadow Painting (pl. 15), and Add Color Painting.8
Onos lease for 112 Chambers Street contained a typewritten addition stating
that the unit would serve as an art studio for painting on canvas and like material. 9 Though the lease neglected to specify the lofts various other functions, it
did note Onos use of canvas, which figured prominently in her work at the time.
Ono purchased a large amount of the material from an army surplus store and
used it to create the majority of her above-mentioned pieces at the loft. A number of these were carried out on a long stretch of the canvas thatas seen in a
few of the existing photographs from the time (see, for example, pl. 3)Ono had
hung along one wall of the space. The six pieces she created for the loft series
represent some of the earliest public enactments of her instructions, which
she had been conceiving since the mid-1950s. Such instructions generally consist of short written directives specifying actions to be carried out by Ono, by
other participants, or by natural phenomena like sunlight. At Chambers Street,
the artist realized many of the instructions herself. The instruction for Kitchen
Piece reads: Hang a canvas on a wall. Throw all the leftovers you have in the
kitchen that day on the canvas. You may prepare special food for the piece. 10
Beate Sirota Gordon, who in 1958 became the first performing arts director of
the Japan Society, recalled witnessing Onos performance of Kitchen Piece and
Smoke Painting in the Chambers Street loft:
Yoko ran to the refrigerator, took out some eggs, ran to a wall covered with a huge piece of white [canvas] and hurled the eggs onto
the [canvas]. Then she ran back and got some jello which she also
threw at the wall. Then she splattered some sumi-ink on the [canvas] and used her hands as paint brushes. When the painting was
completed, she took a match and set fire to the [canvas]. . . . Luckily,
John Cage had warned Yoko to put a fire retardant on the [canvas]
so it burned slowly, and we escaped a fiery death.11
In the midst of the Chambers Street Loft Series, Ono was preparing for a threeperson program, An Evening of Contemporary Japanese Music & Poetry, with
Ichiyanagi and Toshiro Mayuzumi at the Village Gate in Greenwich Village. In anticipation of the concert, which took place on April 3, 1961, the three performers
worked with Niizuma to create a series of publicity images. Along with traditional
head-shots, Niizuma took photographs of the smartly dressed trio positioned
around the baby grand piano in Onos loft. When the New York Times published
one of Niizumas images alongside a review of the concert, however, Ono had
been cropped out of the group (p. 74).12 Although she was one of the headlining
artists, the article only cursorily discussed her contributions, focusing mainly on
the performances of her male counterparts.
Onos primary contribution to the Village Gate concert was an adaptation of her
short story Of a Grapefruit in the World of Park, which had first appeared in the
Sarah Lawrence College newspaper in 1955 (pp. 1415).13 The original narrative
revolved around a grapefruit, abandoned on a park table after a picnic. The 1961
performance script introduced darker elements, including the lines, Would you like
to speak to the dead? and Is he the one who killed you? 14 In the performance,
44
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Cage, Ichiyanagi, Young, and other musicians responded to Onos spoken recitations, creating a jarring soundscape. The Times reported that the composition
called for instrumentalists to improvise sounds according to written, rather than
notated, instructions, and their effects were supplemented by the amplified flushing of a sanitary facility. 15
In the spring of 1961, Ono learned that Lithuanian architect and designer George
Maciunas, inspired by the concerts he had attended at her Chambers Street loft,
was developing a performance program for his Upper East Side gallery, located at
925 Madison Avenue. Maciunas ran the gallery with his friend Almus Salcius, who
had been operating his own space in Great Neck, Long Island. They called their
gallery the AG Gallery, at once combining the initials of their first names and referencing the avant-garde. Maciunas oversaw the gallerys concert program, while
Salcius organized visual art presentations.16 Maciunas also programmed a few
exhibitions and invited Ono to present her first solo show in the space.
Paintings & Drawings by Yoko Ono (pp. 5867) ran from July 17 to July 30, 1961.
Ono recalled that attendance was slim, as many New Yorkers had vacated the
city for the summer.17 Nonetheless, a number of important figures visited the
show, including Cage, Flynt, Gordon, and Noguchi. The presentation centered on
a group of instruction paintings, consisting of at least twelve canvases, and a
small accordion-fold book, Painting Until It Becomes Marble. (The book by that
title illustrated in pls. 17 and 18 may not be the same version shown at AG.) Ono
also exhibited a selection of calligraphic ink drawings on paper. At least three of
the instruction paintings, Painting to Be Stepped On (pl. 13), Shadow Painting
(pl. 15), and Smoke Painting, had been realized in her loft, though it is possible
that new versions of them were shown at AG. Whereas Ono had enacted some of
the instructions herself at Chambers Street, here she distanced herself from the
work by calling for viewer participation.
Each canvas was assigned an instruction that Ono communicated to visitors verbally or, in a few cases, on adjoining handwritten cards. For example, next to
Painting in Three Stanzas (1961; pl. 11)a canvas punctured by a vinea short
text encouraged viewers to imagine the work undergoing a cycle of death and
rebirth (pl. 12). Such division between a works physical and conceptual manifestations was acutely expressed in the catalogue for Onos 1966 London exhibition
YOKO at INDICA: Instruction painting separates painting into two different functions: the instructions and the realization. The work becomes a reality only when
others realize the work. Instructions can be realized by different people in many
different ways. This allows infinite transformation of the work that the artist himself cannot forsee, and brings the concept of time into painting. 18 Ono viewed
her paintings not as finished works of art, but rather as mutable propositions
dependent upon external conditions and the ways in which viewers interpreted
her instructions.
At the time of Onos show, Maciunas could no longer afford to pay the gallerys
electricity bill, and thus, in a break from his usual evening hours, kept the exhibition
open only during the daytime. Ono reflected, Sunlight streaming through the gallery windows cast shadows on the canvasesmaking beautiful, natural changes
to them throughout the day. 19 Indeed, the realization of one work, Shadow Painting
(pl. 15), relied entirely on that play of shadows over its surface.
The AG Gallery exhibition marked the first time that Onos instruction paintings
were presented together as a group. Only one year later, at the Sogetsu Art Center
in Tokyo, she exhibited just the text-based instructions (pls. 2931), encouraging
visitors to realize the paintings in their minds without her direct supervision or her
canvases as a guide. By renouncing her artistic authority and privileging a works
idea over its material form, Ono anticipated developments in Conceptual art.
1960 1962
46
1960 1962
47
Around the time of Onos AG show, Maciunas asked her if she could think of a
name for the circle of artists, musicians, and dancers who had exhibited and performed together at venues like 112 Chambers Street and his gallery. Ono, however,
had little interest in being subsumed under an artistic movement. She recalled:
The next day, George said Yoko, look. He showed me the word Fluxus in a
huge dictionary. It had many meanings, but he pointed to flushing. . . . thinking it
was a good name for the movement. This is the name, he said. I just shrugged my
shoulders in my mind. 20 Maciunas went on to establish Fluxus as an international
group, in part inspired by the instructions, scores, and events that he first saw in
the work of Ono and her peers.
Just days after her AG exhibition closed, Ono traveled to Montreal to perform A
Grapefruit in the World of Park in the Semaine Internationale de Musique Actuellea
weeklong festival of new music and performance, organized by Canadian composer Pierre Mercure. As with her instruction paintings, A Grapefruit in the World of
Park took a different form each time it was carried out, and in this performance Ono
introduced props, including a garden hat hanging twenty feet above the stage. The
Montreal Star recounted this latest incarnation as follows: As Miss Ono read her
lines (picked at random from the script), she was accompanied by a large number
of loudspeakers through which was played a tape recording of what might have
been the cries of some creature in a terminal stage of idiocy. Sample lines from
Miss Onos script: Lets count the hairs of the dead child. Drink Pepsi-Cola. 21
A few months later, on November 24, 1961, Ono presented another version of A
Grapefruit in the World of Park during her first solo concert, Works by Yoko Ono at
Carnegie Recital Hall (pp. 6869). Approximately twenty artists, musicians, and
dancers participated in the performances, including Byrd, Jennings, Mac Low,
Yvonne Rainer, and Young. Carnegie Recital Hall seated 299 people at the time,
and, according to an account in the New York Times, the venue was packed for
the concert.22 Throughout the evening, Ono used various strategies to engage her
audience, such as turning the lights on and off, using microphones to amplify the
sound of performers, and positioning a man at the back of the room in order to
elicit fear in the audience that someone was behind them.23
As with the Village Gate concert, Ono carefully considered publicity for the event.
She created a poster by piecing together newspaper pages, over which she handpainted the concert details in large text. Maciunas, ever a master of marketing,
photographed Ono with the poster in a series of promotional images that were
ultimately never distributed (p. 12, fig. 1). The official concert program featured an
image by Niizuma of Ono standing in MoMAs sculpture garden alongside what
appears to be Germaine Richiers 1952 bronze The Devil with Claws (pl. 19). Other
images from the session show Ono jovially posed with works including Gaston
Lachaises Standing Woman (1932), Pierre-Auguste Renoirs The Washerwoman
(1917), and Jacques Lipchitzs Figure (192630, cast 1937; pl. 1).
On January 8, 1962, Ono participated in a benefit to raise money for a publication
titled An Anthology. Published by Young and Mac Low and designed by Maciunas,
An Anthology brought together poetry, instructions, scores, and other texts by over
twenty artists, including Ono. Many of the contributors would soon become identified with Fluxus. Maciunas moved to Germany in late fall 1961 and continued
to send his designs back to Young and Mac Low in the United States, while they
worked on raising the funds necessary to print and assemble the volume. Held
at the Living Theatre, the January event featured Onos Touch Poem #5 (c. 1960;
pp. 5457)a small booklet containing hair and collaged pieces of paperin the
lobby and The Chair #1, a performance in which Ono interacted with a chair on the
dramatically lit theater stage.
to Japan the previous summer. Though she planned to stay for only two weeks to do
a concert, she remained until September 1964.24
In the roughly sixteen months leading up to her departure from New York, Ono had
not only co-organized the highly influential Chambers Street Loft Series, presented
her first one-woman exhibition, and performed her first solo concert, but had also
nurtured ideas and relationships that would more fully develop during the decade
ahead. The collaborative, process-oriented artworks that Ono and her peers boldly
put forward during these early years set the tone for their work in the remainder of
the 60s. And yet, Ono was also unafraid to stand alone. She brazenly imagined
a future in which shea Japanese woman whose often immaterial artworks contrasted starkly with modernist precedents like the sculptural giants she had posed
beside at MoMAwould expand the scope of our institutions to accommodate
works that exist primarily in the mind.
Francesca Wilmott
NOTES
1.
As Fluxus gained momentum, many of Onos friends began to disperse internationally. On March 3, 1962, Ono departed for Tokyo, joining Ichiyanagi, who had returned
1960 1962
48
49
In December 1960, Yoko Ono rented a loft in downtown Manhattan, on the top floor (the fourth) of a building located at 112 Chambers Street. She not only used
the space as a studio but also offered it as a venue for
artists, musicians, dancers, and composers struggling
to find a place in a contemporary performance scene
dominated by Midtown concert halls. Over the course
of six months, Ono and La Monte Young presented the
Chambers Street Loft Series. Ono recalls that there
were as many as two hundred attendees on any given
evening. These included art-world figures such as John
Cage, Marcel Duchamp, Peggy Guggenheim, Jasper
Johns, and Robert Rauschenberg.
Each of the eleven artists participating in the
series was given a scheduled time slot (usually two evenings) to present his or her program. Several works combined visual art and performance, blurring the distinctions
between mediums. Simone Fortis Dance Constructions,
for example, included Huddle (1961), a performance in
which participants climb atop one another to form an
ephemeral human sculpture. Robert Morriss installation
An Environment (1961) provided a performative experience for visitors, who walked through Passageway, a
plywood corridor painted gray that gradually narrowed
and curved away from the entrance to the loft, with the
faint sound of a heartbeat playing from above.
Though Ono did not present a program of her own,
she participated in various works by others. Additionally,
she installed her instruction-based paintings for the
first time, demonstrating some of them on a horizontal
stretch of canvas that she had hung in the space. She
also used canvas for most of the works in her exhibition
at AG Gallery that summer. Several of these works, such
as Painting to Be Stepped On (1960/1961; pl. 13) and
Shadow Painting (1961; pl. 15), were displayed during
the Chambers Street Loft Series, although Ono may have
made new versions of them for the AG presentation.
1.
2.
Robert Morris
An Environment
JUNE 2830, 1961
Dennis Lindberg
Blind: A Happening 4
With Jake Bair, Charles Cost, and
Ben Spiller
Simone Forti, then married to Robert Morris, appears throughout the programs for the series as Simone Morris.
Arlene Rothlein, as she is commonly known, was married to Malcolm Goldstein and was credited in the program as Arlene
Goldstein.
David Tudor is not listed in the program for the event, but Joseph Byrd has indicated that he was one of the performers. See Joseph Byrd, interview by Klemen Breznikar, Its Psychadelic Baby Magazine, February 9, 2013, http://psychedelicbaby.blogspot.com/2013/02/joseph-byrd-interview.html.
Ono does not recall this performance and may not have been present for it.
4.
1960 1962
50
51
2. Yoko Ono with friends at her loft during the Chambers Street Loft Series,
1960 or 1961. Left to right: Ono, Simone Forti, John Cage,
David Tudor, Kenji Kobayashi, La Monte Young, Toshi Ichiyanagi,
and (standing on Onos Painting to Be Stepped On)
Toshiro Mayuzumi and Isamu Noguchi. Photograph: Minoru Niizuma
4. Yoko Ono during the Chambers Street Loft Series. 1960 or 1961.
Photograph: Minoru Niizuma
1960 1962
52
53
5. Program for Music and Poetry of Henry Flynt at 112 Chambers Street, New York.
February 25 and 26, 1961. Spirit duplicate, 11 x 8 12" (27.9 x 21.6 cm)
6. Program for Compositions by La Monte Young at 112 Chambers Street, New York.
May 19 and 20, 1961. Spirit duplicate, 11 x 8 12" (27.9 x 21.6 cm)
1960 1962
54
55
TOUCH POEM #5
TOUCH POEM #5
c. 1960
7 and 8 (next page). Touch Poem #5. c. 1960. Human hair, cut-and-pasted paper,
and ink on paper, open 9 78 x 13 716" (25 x 34.1 cm); closed 9 78 x 6 78" (25 x 17.5 cm)
1960 1962
56
57
TOUCH POEM #5
1960 1962
58
59
9. Yoko Ono with Painting to See in the Dark (Version 1) (1961), at AG Gallery,
New York, July 1961. Photograph: George Maciunas
1960 1962
60
61
1960 1962
62
63
1960 1962
64
65
15. Shadow Painting. 1961. Installed in Paintings & Drawings by Yoko Ono.
Sumi ink and shadows on canvas, dimensions unknown.
Photograph: George Maciunas
1960 1962
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67
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68
69
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YOKO'S VOICE
19601962
SUMMER OF 1961
Early summer, I got a call from one of the artists who did one
of the evening performances at my loft on Chambers Street. He
said there was this guy who opened a midtown gallery on Madison
Avenue and was planning to do exactly what I had been doing
in my Chambers Street loft. All the Chamber Street Series artists were now lining up in front of his gallery, the artist
said. The guy got the idea when he came to one of the evenings at your loft. His name is George Maciunas. You were probably introduced. Do you remember him? I didnt. There were
about 200 people attending those evenings at my loft. Many of
them wanted to say hello to me. So I might have been introduced
to the guy. I felt a bit miserable. Youre finished, Yoko.
Hes got all your artists. Oh, I thought, so the Chamber
Street Loft series would be over. Finito. That didnt make me
feel that bad. So whats next? Then I got a call from George
Maciunas himself. He wanted to do my art show in his gallery.
Nobody ever thought of giving me a show yet in those days. So
the guy who supposedly finished me off is now giving me a
show? Things work in mysterious ways. I was happy.
72
73
YOKO'S VOICE
Toshi stopped there. He didnt do any more cards. Why? Why not?
You can see those two signs glaring out of those photos from
the show that have managed to survive all these years later. I
am very thankful for those two cardswithout them, no one would
ever know that this was my first show of Instruction Paintings.
When George and I finally put up all the paintings, and put a
card that said 400 dollars on the side of each painting, we
looked at each other. What if somebody bought one painting?
What are we going to do then? If somebody bought one painting,
we can go to Europe! he said. We felt like somebody already
bought one. We became so happy we suddenly took each others
hands and danced around the room.
George said we had to have a name for this movement that was
happening. You think of the name, he told me. I said, I
dont think this is a movement. I think its wrong to make it
into a movement. To me, movement had a dirty soundlike we
were going to be some kind of an establishment. I didnt like
that. So I didnt think of any name.
The next day, George said Yoko, look. He showed me the word
Fluxus in a huge dictionary. It had many meanings, but he
pointed to flushing. Like toilet flushing! he said laughing, thinking it was a good name for the movement. This is the
name, he said. I just shrugged my shoulders in my mind.
The summer of 1961 was very hot, and only few people came
to the show. I remember some dear friends who did show up. I
remember explaining the Smoke Painting to John Cage, and actually made thin smoke come out of the canvas ... like the smoke
you get from burning incense. I remember Beate Gordon and her
daughter, Nicky, who were encouraging about my work. That was
a nice surprise. Beate called me later, and said, Yoko, Nicky
liked it. I was so scared that she would not like it, that I
told her not to say anything. I found out later that she actually liked it and wanted to say something, but I told her not
to say anything! We both laughed. I remember Isamu Noguchi,
stepping on Painting To Be Stepped On with a pair of elegant
Zohri slippers. All that seems like yesterday.
The very young and pretty woman George was sitting with was
actually his mother. They used the candle because the electricity was cut off. And that great looking IBM typewriter? It was
a loaner. George also had phones everywhere. There was a story
for that, too. He told me his phone service was listed under a
new name every month. Whenever his phone was cut off, he just
registered a new phone under a new name. Of course, that night
I, like the rest of the artists, just thought, WOW!
y.o.
April 08
74
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1962 1964
In 1962, Yoko Ono began to feel that the New York art scene was becoming a rigid
and limiting establishment. Her husband, the composer Toshi Ichiyanagi, who had
returned to Japan in 1961, arranged a concert for her at the Sogetsu Art Center in
Tokyo. Intending to visit for just a few weeks, Ono wound up staying for two and a
half years. Her stay in Japan turned out to be one of the most difficult and transformative periods in her career. Just as her life went through dramatic changes,
her art began to shift its orientation from the avant-garde to the popular, with a
greater emphasis on public interaction. In a way, this shift anticipated her future
collaborations with John Lennon and many of her current endeavors, which involve
the broad public.1 She claimed that some of the works she would later enact in
New York, London, and elsewhere were inspired directly from the environment in
Japan and born out of the exchanges she had with Japanese people.2
The concert that Ichiyanagi had arranged, titled Works of Yoko Ono (pp. 8491),
held at Sogetsu on May 24, 1962, was widely anticipated, with the press celebrating Onos novelty as a young female composer and poet who had come back to
Japan from New York after ten years. In addition to the concert, there was a solo
exhibition in the lobby that included, among other works, the artists Touch Poems
and Instructions for Paintings (pls. 2831), both of which were radical for inviting
interaction: the former encouraged the viewers to explore the sensation of touch,
while the latter prompted them to complete paintings in their minds. The concert
centered on the theme of kehai (vibration) and was inspired by Buddhas halfclosed eyes. Ono wished the audience to seek out something ineffable, such as
vibration, and to both view the world before them (the performances) and look
into their inner worlds, inhabiting a state of being symbolized by Buddhas meditative gaze.3 The concert was intentionally dimly lit and the works involved only
subtle sounds and movements; the intention was to intrigue the audience and
lead them to focus on their senses while engaging with her performances. It was
quite shocking to those of us in Japan who were mainly looking at Western art
and music for inspiration, the graphic designer Kohei Sugiura recalls. Ms. Onos
concept was to return action or a way of thinking to its origin, which was opposite
of what we were doing. 4 Sugiura was one of approximately thirty vanguard artists
who performed at Onos concert. Others included Genpei Akasegawa, who later
founded the collective Hi Red Center, and Tatsumi Hijikata, creator of the dance
form ankoku butoh (dance of darkness). The participating artists obediently followed Onos Zen koanlike instructions to enact straightforward actions, such as
sweeping the stage with a broom.
The concert began with Onos solo A Piano Piece to See the Skies, which consisted of inaudible sounds (made by faintly touching the pianos keys), sounds
that reached the sky, and breathing.5 While breathing hard in the third movement,
Ono lit a match and smoked a cigarette, an action that was considered a realization of her 1955 instruction Lighting Piece (pl. 25). As in this instance, many small
works that were not listed in the program, such as Hide Piece and Question Piece,
were incorporated into larger works. Audience Piece to La Monte (pl. 27) was used
as the finale for AOSTo David Tudor (pl. 24). Characterized as an opera without
any sound of instruments, 6 this finale consisted of twenty performers standing
at the front of the stage and silently watching the members of the audience. The
1962 1964
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1962 1964
abrupt reversal of the roles of performer and audience was so upsetting that at one
point someone came onstage to pinch the noses of the performers one by one,
eventually precipitating a fight.7 Onos legendary concert introduced a new form of
art to Japanoften referred to as Happenings.
Onos concert had a strong impact at the time, receiving nearly a dozen reviews.
She found, however, that most critics merely followed Western artistic trends and
derided her work as eccentric, sometimes making up rumors about her private life.
American expatriate critic Donald Ritchie attacked her in a popular art magazine,
declaring that all her ideas were borrowed from John Cage. Ichiyanagi published
a statement in the next issue of the magazine, defending Ono and her art.8 As
Ono recalled, she feared her bad reputation would harm her husbands blossoming
career, and she gradually isolated herself, growing increasingly depressed.9 While
recovering from her depression, she met Anthony Cox, an American who told her
that he had seen her work in New York and came to Japan to meet her.10 By October
she was well enough to participate as a performer and translator in a Japanese
concert tour by John Cage and David Tudor. Although she presented bold interpretations of Cages pieces, such as laying herself on top of the piano in his Music
Walk (1958), her creative interventions were largely ignored by the press.
In 1963, Ono and Cox married, and their daughter, Kyoko, was born. While this was
a difficult time, in which she worked odd jobs (barely enough to make ends meet)
and cared for her newborn child, Ono still managed to create numerous instructions and to perform some of them in public. In 1964, she self-published Grapefruit
(pp. 100105), an anthology of her instructions and product of her work up until this
point. The instructions, some written in Japanese, most in English, were organized
into five sections: Music, Painting, Event, Poetry, and Object. The collection
further solidified the belief she put forth at Sogetsu: that the instructions were a
form of art on their own. The idea of advocating language as art anticipated the
international Conceptual art movement,11 but Onos work went further than this. Her
intention was that others would put her instructions into action, or enact them in
their minds, and in this sense her works resonated with those of her Fluxus peers.
Ono experienced an explosion of creative energy in 1964. This productive period
coincided with that of the Tokyo avant-garde, which began exploring alternative
spaces, such as the Naiqua Gallery, and outdoor venues for their exhibitions and performances, due to the discontinuation of the annual Yomiuri Independent Exhibition.
Ono performed a series of new events at Naiqua in early 1964, including Touch
Piece (pp. 9293), Fly, and 9 A.M. to 11 A.M., which was later renamed Morning Piece
(pp. 9499). Among the events attendees were active Fluxus member Nam June
Paik, and other artistssuch as Shigeko Kubota, Mieko (Chieko) Shiomi, Takehisa
Kosugi, and Yasunao Tonewho later became involved in Fluxus in New York.
For Touch Piece, participants, including Ono, sat in a circle and touched each
other in silence.12 Ono was absent from the performance of Fly, for which she
asked invitees to come with preparations to fly, 13 encouraging them to interpret
the piece freely, without her influence.14 Many of them jumped from a ladder that
was set up in the gallery. Later they discussed whether the act of flying was the
same as dying. As early participants in Fluxus, Ono and Paik served as catalysts in promoting the idea of the event in Japan and brought information on
like-minded Japanese artists, including those of Hi Red Center, to New York.15
Ono played a leading role in disseminating the early forms of performance and
Conceptual art in Japan, and was at the center of the Tokyo avant-garde community, whose members were interested in challenging and subverting the norms of
mainstream culture.
Ono was featured prominently as the only female artist in the documentary film Aru
wakamono-tachi (Some young people), made by Chiaki Nagano and broadcast
on Japanese television in 1964. The film introduced a group of artists performing
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on the streets, including Ushio Shinohara and Zero Jigen (Zero Dimension).
Highlighting the ways in which the 1964 Summer Olympics, held in Tokyo, transformed Japan into a rising economic power and consumer society, it suggested
that the happy atmosphere might be full of superficial peace, and depicted these
artists as critics of the society, resisting the myth of happiness.16 In contrast to the
male artists showy performancessuch as Shinoharas destruction of paintings
and the members of Zero Jigens crawling about on the streetsOnos actions
were distinctly modest. For example, she left white flowers, one by one, at various places on the street in the piece Flower Event. The only person who dared to
engage with one of them was a schoolgirl, who purposefully stepped on a flower
placed on the sidewalk. Ono stated in the film:
Even though critics did not have adequate language or the necessary framework
to assess her work, they paid special attention to her as a guru of new art. 24 The
respected critic Shuzo Takiguchi regarded her art as a natural action against contemporary art, which has been corrupted, standardized, and confused. 25 Onos
sojourn in her native country was short, but it was significant in that she reconnected with her cultural roots. Quiet and contemplative, transformative and subversivethese were the founding qualities of Onos art, as they were formed in the
crucible of her years in Japan.
Midori Yoshimoto
Art is not a special thing. Anyone can do it. Making art does not
have to be so unusual. What I mean is that middle-aged men and
housewives, your neighbors, can also do it. Being an artist is not so
unusual. If everybody were to become an artist, what we call Art
would disappear. I think it would be fine if this were to happen and
[what I have envisioned] becomes a reality.17
NOTES
This essay partly stems from chap. 3, The Message is the
Medium: The Communication Art of Yoko Ono, in Midori
Yoshimoto, Into Performance: Japanese Women Artists
in New York (New Brunswick, N.J., and London: Rutgers
University Press, 2005), pp. 92103, and Yoshimoto,
Works of Yoko Ono, 1962, in Alexandra Munroe and Jon
Hendricks, eds., Yes Yoko Ono (New York: Japan Society
and Harry N. Abrams, 2000), pp. 15052.
Ono intentionally presented her works inconspicuously to make a point about art
disappearing into everyday life. Her subtle artistic campaign sought to destroy the
institution of art through simple expressions encountered in the mundane world.
The film also showed Ono and Cox performing her Morning Piece under a tree on
the Tama riverbank. Passersby could stop and purchase glass shards, which were
labeled as various mornings of the future. By incorporating poetic gestures into
peoples ordinary routines, Ono hoped that people would slow down the pace of
their lives. She stated: I am interested in, say, delaying our culture by introducing
to our life such a useless act or more and more useless things. 18 Ono furthered her
campaign by inviting people to the apartment she shared with Cox and performing
for them. The photographer Minoru Hirata, who frequented the apartment around
then, published a photo essay featuring them in a popular weekly magazine.19 In
one of the photos, Ono and Cox are seen emerging from a giant black bag as they
finish performing Bag Piece (pp. 11013) for the photographer. By appearing in the
film and the article, Ono expanded her audience to the broader public, hoping to
transcend the closed circuit of the artistic vanguard.
Before leaving for New York in late August 1964, Ono held two more concerts. The
first was at the Yamaichi Hall in Kyoto and featured the public premieres of Cut
Piece (pp. 1069), Bag Piece, and Snake Piece; the second concert was at the
Sogetsu Art Center in Tokyo and included these works and others.20 Artist and filmmaker Jeff Perkins, who performed in the Tokyo concert, recalls of Snake Piece:
Yoko turned out the lights in the hall, and she announced that she had released
two snakes out into the audience and that they could light one match only to
see if they could see any snakes. 21 The snakes (although there were likely none
actually present) served to symbolize that which we are afraid of, while the darkness represented the unknown. The theme of exploring the unknown and looking
deeply into oneself united most of Onos pieces. Although Cut Piecein which
she invited audience members to cut off pieces of her dresswas sensationalized as a striptease in Japanese reviews, the misunderstanding was perhaps
inevitable, since the concert was subtitled Strip-Tease Show. According to Ono,
however, to strip is not to reveal to others, but to discover something hidden in
humans. 22 She saw Cut Piece as an opportunity for audience members to learn
something of themselves.
At the end of Naganos documentary, Ono comments: I did various things here in
Japan, but it seemed that what I was doing was not understood and disappeared
into thin air. 23 It is undeniable, however, that she had a significant effect in Japan,
as seen in the press reactions at the time and as subsequent history has shown.
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89
28. Untitled (Painting to See the Sky). 1962. From Instructions for Paintings.
1962. Ink on paper, 9 1316 x 14 1516" (25 x 38 cm)
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93
TOUCH PIECE
TOUCH PIECE
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MORNING PIECE
MORNING PIECE
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MORNING PIECE
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99
MORNING PIECE
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GRAPEFRUIT
GRAPEFRUIT
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GRAPEFRUIT
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105
GRAPEFRUIT
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107
CUT PIECE
CUT PIECE
1964
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109
CUT PIECE
1962 1964
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111
BAG PIECE
BAG PIECE
1964
1. Yoko Ono had used bags previously in her work, including in her
1961 Carnegie Recital Hall Concert
(pp. 6869).
2. Ono, Strip Tease Show
(1966), in Jon Hendricks, Anthology:
Writings by Yoko Ono, Alexandra
Munroe and Hendricks, eds., Yes
Yoko Ono (New York: Japan Society
and Harry N. Abrams, 2000), p. 276.
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BAG PIECE
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WORDS OF A FABRICATOR
I feel a strong nostalgia for the first man in the human history
who lied. How did he feel when he said he saw God, eternity,
and heaven, for instance? Did he intend to deceive others while
trembling from his own insecurity? Did he try to make the world
of lies into a real world by deceiving others? Or did he believe
that his fictional world actually existed somewhere in the
universe? Whatever his feelings were, I think its interesting
that he could not keep his lies to himself, and shared them
with others.
Stylization is a materialization of the human desire to free
oneself from the world of irrational rationality, hoping that
he could extricate himself from it by immersing oneself into a
fictional world. Medieval thoughts interest me for that reason. Architecture, clothing, and various social conventions are
attempts to make a detour to death by creating excessive dramas/
illusions which are far from the naked reality. At its bottom
lies an endless pessimism that nothing but a fictional order can
rescue us.
But we now find ourselves in a healthy era, in which fiction
is somewhat abhored. In fact, we have contempt for any fictional
act in the realm of consciousness. Even with ones own set of
rules, such as ones belief, man cannot be satisfied without
bringing the natural order into its structure, thereby making
it appear as though his set of rules are equally real and valid
as the law of nature. It is hard not to notice the farce, that
instead of legitimizing mans belief system, nature suddenly
mutates into fiction as it is planted artificially into the
frame work of the man-made order. Failing in the attempt of making the fabricated order appear equally real as nature, the contemporary man has now gone into a totally opposite direction of
placing men in equal position to objects and plants. This is an
attempt to raise mens stature to that of nature, by regarding
natures chance operational characteristic as superior to mens
own fictional order, and succuming to and adopting the chance
operation as mens own. It is the state of mind of wanting to
become a weed and join the heartbeat of the universe by entering
a state of innocence/nothingness and blowing in a gentle wind.
This direction stems from ones optimism of thinking that as
long as one discards ones consciousness, and leaves oneself in
the hands of chance operation, one could immedidately turn into
being a weed. This line of thought rubs me the wrong way.
It is too simplistic to think that one can reach the world of
transcendence as long as we participate in the act of Gyo and
sweat. Is a human body worthy of such trust? We are talking
about a body of betrayer/letranger to the natural world, who
carries the misfortune of being capable of even controlling the
length of his life by will. Were talking about, us, the contemporary men who are soaked to the bones with a fabricator called
consciousness.
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YOKO'S VOICE
We, the betrayer, are so invaded by the falsehood of consciousness we cannot even become chance operational by using
such loose method as leaving it to chance operation. Instead, if
we assign the most fictional rules, only then, we may possibly
transcend our consciousness. My current interest is in such a
world of fictional rules: the laws of the fabricator.
The assumption and realization of a perfect circle and a perfect line which we have not encountered except in our conceptual
world. The nonsense act of counting the number of chimneys all
over the world, and the repetition of such acts. To assign such
set of rules to myself.
I can call this a ritual to rationalize the irrationality in us,
humans. It may have something in common with the act of medieval stylization. Except here, it is a ritual which cannot be
shared in the physical world. Or shall we say, that it is a
ritual without the dignity of being real. A ritual even I could
only acknowledge its existence as fiction/fabrication. The
strange result of it is that, it becomes a concrete matter/
substance, only when one tries to destroy it, as, otherwise, it
cannot escape from being imaginary.
A conceptual reality becomes a concrete reality only when it
meets the enactment of destructive forces in the accidental circumstances. The rules of this conceptual world I assign myself
to, differs in its nuance from the world of a certain Satori/
enlightenment derived by one trying to confuse ones self image
with that of a plant and not feel any conflict, more over,
feeling most satisfied that one has joined the supeior world
of chance operation by becoming like a weed.
I am still groping in the world of stickiness.
My attempt is not as serious as handing a knife to someone and
trying to make my transcendence by asking the assistance of the
force other than my own. It is nothing more than a obsessive act
of the posessed, attempting to make ones own fiction a reality
by letting others cut off the consistent romanticism inevitable
to fiction.
Anyhow, I cannot stand the fact that everything is the accumulation of distortion, owing to ones slanted view. I want
the truth. I want to feel the truth by any possible means.
I want some one or something to let me feel it. I can neither
trust the plant-likeness of my body or the manipulation of
my consciousness. I know no other way but to present the structure of a drama which assumes fiction as fiction, that is,
as fabricated truth.
(Words of a fabricator)
Yoko Ono
SAC Journal no. 24, May 1962 issue, Tokyo
Translated by the artist, August 2627, 1999
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YOKO'S VOICE
OF WORDS OF A FABRICATOR
DATE: SEPTEMBER 1, 2014 1:37AM
FROM: YOKO ONO
CUT PIECE
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ko no zenei sh
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five hundred yen for admission. Having been deceived into paying such a
pricey admission, they stayed until the end, trying to get the most of
their money.
Donald Richie, Stumbling Front Line: Yoko Onos Avant-Garde Show,
Geijutsu shincho
shinch
o, July 1962. Translation of article on
pp. 11819 of this volume.
The So
S
ogetsu Art Center has become known for presenting the finest of
Japanese avant-garde art, but it hardly lives up to that reputation.
The works it shows are actually mostly old-fashioned. Yoko Onos program held there the other day epitomizes this.
She must be thinking of herself as modern merely for two factors: she
has just returned from New York, and the pieces she presented appeared
to be avant-garde. People were seated in a circle. She would strike
a match to light a fire. She would bang on the piano. Just these simple
gestures would fill up a couple of hours.
Following one after another were works that seemed to have no point,
except for the fact that performers were voluntary participants
(there was no rehearsal because of this) and the fact that the pieces
focused on trivial matters. The concert offered nothing other than
these two selling pointsthe performers voluntary participation and
works triviality.
Of course, this voluntary participation was nothing remarkable. Elites
of the Japanese avant-garde [who performed in the concert] such as
Toshiro
Toshir
o Mayuzumi, Kenji Kobayashi, Yuji Takahashi, Toshi Ichiyanagi,
Kuniharu Akiyama, Yoshiaki To
T
ono, Mitsuo Kano
Kan
o, and Masunobu Yoshimura
were all busy and restless, their schedules packed. The point of this
concert was that these busy men managed to participate. We often hear
of voluntary participation in New York, too, but rarely hear of such
voluntary participation being done by amateurs. Usually, voluntary
participation is done by professional actors. It is fundamentally different in its concept and attitude from this instance, where amateurs
stood onstage without any rehearsal or preparation.
Anyway, Ono did not demonstrate any originality. All her ideas are borrowed from people in New York, particularly John Cage. For example,
the idea for the piece in which she sat silently in front of the piano
for the first five minutes and banged on the keys for the next five was
clearly stolen from Cage. The piano performance by Takahashi, which
juxtaposed actions of the actors onstage, also derived from Cage.
What Ono does is unoriginal. I found far more originality in a dance
by two ballet dancers, Tatsumi Hijikata and Miki Wakamatsu.
Unfortunately, the remaining program displayed creativity on the level
of an elementary-school sports day.In other words, it was an amateur
performance. In this sense, the concert exposed the very nature of
Japanese. Japanese seems to believe that great and important works
are those which take time, like this one, which took forever, involving
long breaksthis little play went on and on. Ono is a good example of
someone who tries to make works seem significant solely by making
them take a very long time. Something that could have been presented
in a few minutes was prolonged to twenty minutes just so that it would
seem important.
Her attitude toward the audience was off-track. She constantly
insults the intelligence of her audience members. She must think that
they have no mental capabilities at all. Perhaps she is right. That
might be so. Because the latest trend is that audiences enjoy being
disrespected. But this is due to nothing other than the fact that they
disrespect themselves.
Sensible audience members should have left their seats after fifteen
minutes tonight, but they showed no signs of leaving early. I guess
that was particularly hard for them to do since they were made to pay
1962
1962
1964
Yoko Ono was criticized for stealing ideas in her work (Donald
, last months
Richie, The Stumbling Front Line, Geijutsu shinch
shincho
o
issue). This is, however, a simple mistake. It can be proven by
myself and others who performed her compositions that night, strongly
supporting Ono.
First, let me explain two of the pieces in question. The first piece,
A Piano Piece to See the Skies
Skies,
, which Ono played by herself, began
with the repetition of sounds inaudible to humans. It proceeded to
the repetition of sounds that reached the sky, and concluded with the
repetitive breathing that necessarily results from an energetic performance. Setting aside the discussion on the quality of the work, it
is clear that this three-part piece had nothing to do with John Cages
silent piano composition 4'33"
4'33".
. It was conceptually different. (Cage
considered every sound that was heard during the performance as music.)
It was also pointed out that her next composition, Pulse,
Pulse, employed
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an objet
objet,
, and to use whatever is available. Ono insists that a work
is the artists private part and that the artist is a tough, mental
prostitute, and she acutely feels the need for such prostitution.
She says, I would be happiest and healthiest if I could be saved by
just watching a baseball game, but a baseball game makes me long for
something else. She says, I wouldnt feel satisfied with art that is
like sweets, meaning art that is made merely for entertaining senses,
that can be created even by a childs imagination. She talks about
her hunger for a substantial world in a paradoxical way: Even the
healthy honesty of Picasso and Pollock would not satisfy me. I need a
fictional world that has much more complicated settings. That is, the
kind of world where a chair can be transformed into something equivalent to humans.
Ono used to say that artists show their work out of weakness and that
this is their downfall. It was only a few years ago that she began
to show her work willingly. Until then, she rarely showed it to someone
unless it was absolutely necessary. She did not even tell most of her
friends when she was doing something. One can feel in her work a void
that embraces a conflict between her wondrous timidity and her uncompromising nature.
Touch Poem;
Poem; an instruction for a painting to be done by others; an
object to be embraced by others; Smoke Painting,
Painting, which acquires its
life by getting burned; and music that is accomplished by having
others destroy itshould I call these stylized methods for suicide?
Ono hated the kinetic art that was created by [Jean] Tinguely and
others and that was popular in Europe at the time. She condemned the
destruction it involved for not being a void and for demonstrating
arrogance by having a certain rhythm. Hence, she created many works
that were quieter and relied on almost imperceptible indeterminate
transformation and time. I am referring to a series of works that
concerned time, such as, Until waterdrops create a hole in a stone,
Until a canvas is covered by vines, and Until wind blows all the
seeds. This element of time applies to all works by Ono. In those days
in New York, nobody but Ono thought of such a thing. Among her friends,
she was called the only painter that they knew. The work that most
clearly revealed the character of her art was perhaps Painting to Shake
getsu Art Center. Ono
Hands,
Hands
, which was displayed in the lobby of the S
So
o
self-mockingly says that the only thing that remains to be done is
to go around and shake hands with people. But this painting, with its
long subtitle of Painting for those who cannot help putting on a diplomatic smile, elevated her thoughts into a much more refined realm,
and created a world of new beautiful, stylized rules. A hand comes out
from the canvas, and it will be shaken by numerous unknown hands in
unknown spaces.
Because her work does not have so-called Japonica elements,
Japanophiles in New York, who liked Japonica, disliked her. Ono was the
only Japanese artist who wasnt reviewed as a Japanese artist in newspaper articles, such as the one in the New York Times titled AvantGarde Music Reaches Carnegie. La Monte Young and Jackson Mac Low discussed whether they should include her works in the American section or
in the Japanese section of an avant-garde magazine to be published in
Europe, the United States, and Japan. They asked, Which do you think
of yourself as? Yoko answered in her usual timid manner, I feel bad
for Japanese people if I am included as a representative of Japan in the
Japanese section, because there should be people who do various works
in Japan. Despite what she may think, there is almost nobody that does
such avant-garde work.
There have been many enthusiastic people among Onos audiences in New
getsu in Japan. In addition, she has received many inviYork and at S
So
o
tations to do exhibitions, concerts, events, and radio broadcasts
in Europe. In a society whose art-viewing eyes are like a wide-holed
strainer, only coarse art that does not sift through will survive. In
a world where one can easily be sued for stealing, efforts not to be
misunderstood become more important than doing adventurous things: I
wish for the critics reconsideration.
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Yoko Onos departure from Japan in the late summer of 1964 was documented
in the short film Aru wakamono-tachi (Some young people), directed by Chiaki
Nagano. Ono is seen walking up the stairs to the plane, waving and smiling; she
had just quietly revolutionized art in Japan, and was returning to the United States,
confident that she could continue with the radicalization of art that she had begun
there in 1960. On her return, her first activity was to introduce her friend Hiroshi
Teshigahara to New York City and translate for his presentation of his film Woman in
the Dunes at the second New York Film Festival, in September 1964. Teshigahara
had hosted her concert Works of Yoko Ono, at the Sgetsu Art Center, Tokyo, in
May 1962 (pp. 84 91), and her just-completed Yoko Ono Farewell Concert: StripTease Show, also at Sgetsu, in August 1964. The latter event featured works that
Ono planned to present in her March 1965 concert at Carnegie Recital Hall in New
York, including Cut Piece (pp. 1069), Bag Piece (pp. 11013), and Striptease for
Three (pl. 54; all 1964).
New York had changed in the two and a half years that Ono was away. Gone were
the adventurousness and the raw underground art scene to which she was so central. Pop Art had firmly established itself as the dominant movement, but nudging
in from around the edges was a new avant-garde, defined by postmodern dance,
films, Conceptualism, and Fluxus; advances in music, poetry, and theater; and,
especially, a political awakening.
Fluxus had returned to New York in the spring of 1964 with a series of events
around Canal Street. George Maciunasback from Europe, where he had been
living since late fall 1961organized a large Fluxus concert to be held at Carnegie
Recital Hall that summer. Titled Fluxus Symphony Orchestra in Fluxus Concert,
the event was the citys first grand introduction to Fluxus. Maciunas had developed
plans for the movement in New York in the summer and fall of 1961, and had been
greatly influenced by Onos ideas of participation, by her conceptualism, and by
the license she gave others to realize her works. This last quality became very
important in Fluxus, with Maciunas interpreting artists ideas to produce inexpensive unlimited Fluxus Editions of their works. Maciunas was also influenced by
Ono and La Monte Youngs Chambers Street Loft Series (pp. 4853). Fluxus had
emerged as a public phenomenon in Europe and Japan during Maciunass and
Onos absence from New York. Now, the movements iconoclastic yet humorous
character filled a void in the city.
Initially, while reestablishing herself in New York, Ono realized quiet postcard
events, in which the recipients were invited to draw circles, or to imagine. Then, for
her March 1965 Carnegie Recital Hall concert titled New Works of Yoko Ono, she
premiered in the U.S. the works that had radicalized Japan: Cut Piece, Bag Piece,
and Striptease for Three.1 Onos work challenges a public on various levels. For
instance, Cut Piece is about stripping away constrictions, traditions, prejudices
releasing the selfand it deals with sexuality, gender, and class. The piece embodies conflicts of cultural philosophiesEast/West, Buddhism/Christianity, female/
male, present/past, exposed/obscured, free/tied upas did the kiss between Ono
and her husband in Aru wakamono-tachi: a liberated Japanese woman kissing
a middle-class white American man was extraordinarily radical for the time. The
1964 1966
shock of this kiss and its message must have been seismic in Japan in 1964,
when the film was shown on national television. The act was clearly intentional on
Onos part, just as her performances of Cut Piece left no doubt of her desire to
free herself from cultural straitjackets. In Striptease for Three, three plain chairs are
placed in a row in the middle of the stage (pl. 54); the curtain rises and the chairs
stay set this way for a long time before the curtain falls. The piecea work of pure
conceptualismconcerns peoples expectations of sexuality and their prejudices.
Bag Piece involves obscurity and imagination, as well as the suggestion of eroticism; in a way, it is an inversion of Cut Piece.
For her contribution, in late June 1965, to the Perpetual Fluxfest concert at the
East End Theater in New York, Ono performed Bag Piece, with more erotically
suggestive movements, and enacted her Beat Piece with Nam June Paik, Shigeko
Kubota, Anthony Cox, and others. The score of the latter piece reads: Listen to a
heartbeat. A photograph of the work shows Ono and the group casually lying on
the stage bunched together seemingly like a heap of dead bodies. A week later,
also for Perpetual Fluxfest, Kubota performed Vagina Painting in the same theater.
Ono dedicated two works to Maciunas in 1965: Pieces Dedicated to George
Maciunus, The Phantom Architectcomprising written descriptions of conceptual
architecture, including buildings that incorporate the rain, wind, or sunlightand
Morning Piece (1964) to George Maciunas (pls. 3740), performed on three days
in September on the roof of her apartment building. The latter work involved selling past and future mornings and was first realized in Japan the previous year.
Also in 1965, Ono wrote a piece that seemed to objectify her conceptual art: Onos
Sales List (1965) was a register of various of her works along with prices. One of
the items on the list is a letter from Ono to Ivan Karp. Karp was then the director
of the Leo Castelli Gallery, the most powerful art gallery in New York at the time,
showing the works of Jasper Johns, Roy Lichtenstein, and Andy Warhol, among
others. Onos letter is an indictment of the gallery system and of the commodification of art; Karps reply (also catalogued on Onos Sales List) was arrogant and
sexist, perfectly reflecting the institutional power structure that Ono stood against.
In September 1965, Maciunas held the second Fluxus concert at Carnegie Recital
Hall, titled Fluxorchestra at Carnegie Recital Hall. Ono performed two works: Sky
Piece to Jesus Christ (1965; pp. 13233) and Pieces for Orchestra to La Monte
Young (1962). Both pieces were ironic dedications to composers (Jesus Christ
being John Cage). Young was the conductor of the concert. Sky Piece involves
wrapping the orchestra musicians and their instruments with medical bandages
until they can no longer make sound, and then leading the musicians offstage.
Both works can be seen as declarations of independence from great but dominating male composers, who at different times attempted to exert their will over many
in the avant-garde. The pieces are manifestos of liberation.
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129
Onos instructions were accompanied by images that Maciunas made for the
work. Maciunas printed two versions of the dance-festival pieceone in the aforementioned publication, and the other as an offprint on stiff, white stock (pl. 59),
which he cut up and packaged in clear plastic boxes as a Fluxus Edition. Once in
London, Ono made her own drawings for the work and advertised subscriptions
for the event. These drawings are reproduced in the editions of Onos artists book
Grapefruit (pp. 100105) published since 1970.
During the winter of 196566, Ono created a private piece titled Blue Room Event
in the oppressive New York apartment in which she was living. She wrote short
statements that served to invert perceptionThis is not here, This room gets as
wide as an ocean at the other end, Find other rooms which exist in this space
on the walls, windows, floor, and ceiling, and on a large armoire. Blue Room Event
was a way of transferring her state of mind outside the situationa conceptual
deliverance.
In January 1966, Ono did a talk and concert titled Avant Garde in Japan at the
Davison Art Center at Wesleyan University, Middletown, Connecticut. The program
included Breath Piece, Wind Piece, and Wall Piece. Ono described the first two
works in a letter she sent to John Cage later that year.2 For Breath Piece, she
explains, a large card with small lettering saying breathe, was passed three times
among the audience.3 Wind Piece instructs, Make a way for the wind, and was
first performed at the Sgetsu Art Center in 1962 with a huge electric fan. At
Wesleyan, the audience was asked to move their chairs a little and make a narrow aisle for the wind to pass through. No wind was created with special means.4
The final work, Wall Piece, consists of two versions. The score is as follows:
Wall Piece
First version for one or many
performers:
One or a number of performers
repeatedly knock his or their
head(s) against the wall(s) on
the stage or in the theatre or
auditorium or place of performance.
The piece ends when the performers
decide that it should end.
Second version for audience:
The four-page 3 newspaper eVenTs for the pRicE of $1 (issue seven of the
Fluxus newspaper, dated February 1, 1966) dedicates an entire page, designed by
Maciunas, to Onos Do It Yourself Fluxfest Presents Yoko Ono & Dance Co. Onos
work consists of instructions for pieces to be enacted, in the mind or perhaps in reality, that together constitute a dance festival. One, for instance, reads:
A few days after Ono returned from Wesleyan, feeling the audience didnt understand her radical conceptual art, she wrote a footnote to her lecture, titled To the
Wesleyan People (who attended the meeting), which is one of her clearest writings about her artwork and philosophy (pp. 14447).
1964 1966
During the winter of 196566, Ono made her first version of Film No. 4 (pp. 164
67), assisted by Anthony Cox and Jeff Perkins, and starring the moving buttocks of
Geoffrey and Bici Hendricks (later known as Nye Ffarrabas), Carolee Schneemann,
James Tenney, Ben Patterson, Philip Corner, and perhaps ten other friends and
family members. These films were included in Maciunass award-winning Fluxfilm
Anthology (1966), which additionally featured Onos films Match Piece (or No. 1)
a realization of her 1955 Lighting Piece (pl. 25)and Eyeblink.
During this same period, Ono collaborated with Cox, Perkins, Michael Mason, and
myself to create The Stone (pp. 13843), a participatory installation in the Judson
Gallery, a small space next to Judson Memorial Church in Greenwich Village. A
structure was built inside the space, with a paper scrim on one wall for a rearscreen projection by Perkins; a slightly raised floating platform with markings by
Cox; speakers in each corner of the ceiling for sound forms by Mason; and a
scrim overhead, above which lights were mounted that were continually dimmed
and brightened. Ono had prepared questionnaires for visitors, who, after removing
their shoes, could enter the interior space, put bags over their bodies, undress if
they wished, and stay as long as they liked. Referred to as eyebags, the bags
were made of a material that could be seen through but not into, the work sharing
certain aspects with Onos earlier Bag Piece.
Ono and Cox prepared a publication for The Stone. Among the pages were Coxs
texts on his ideas for The Stone, Masons text on sound forms, Perkinss discussion
of his film message, and various works by Ono, such as Forms to Be Filled for
the Rental of the Eyebags: Questionnaire, Truth/False, A, B, or C; Ad for Bagwear
(pls. 6264); and Biography, which included her Statement:
Statement
130
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131
NOTES
1.
2.
3.
4.
5.
6.
Jon Hendricks
1964 1966
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133
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SKY MACHINE
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SKY MACHINE
1961/1966
1964 1966
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137
59. Do It Yourself Fluxfest Presents Yoko Ono & Dance Co. 1966.
Designed and produced by George Maciunas. Uncut sheet for a Fluxus Edition.
Offset, 22 116 x 16 1516" (56 x 43 cm). The same image appears in Fluxus 3
newspaper eVenTs for the pRicE of $1 (Fluxus newspaper, no. 7 [February 1966]), p. 2
1964 1966
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THE STONE
THE STONE
196667
60. Contact sheet showing Yoko Ono, Anthony Cox, and others in The Stone,
Judson Gallery, New York. 1966. Gelatin silver print, 9 1516 x 8 116" (25.3 x 20.5 cm).
Photographs: Charles S. Rotenberg
1964 1966
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141
THE STONE
61. Antechamber to The Stone, Judson Gallery, New York, March 1966.
Photograph: Peter Moore
1964 1966
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THE STONE
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YOKO'S VOICE
YOKO ONO
1 WEST 100TH ST.
NEW YORK., 10025
A paper ball and a marble book, except that the final version is
the fusion of these two objects which come into existance only
in your head.
A marble sphere (actually existing) which, in your head, gradually becomes a sharp cone by the time it is extended to the far
end of the room.
*********
I would like to see the sky machine on every corner of
the street instead of the coke machine. We need more skies
than coke.
***********
*******
Dance was once the way people communicated with God and godliness in people. Since when did dance become a pasted-face exhibitionism of dancers on the spotlighted stage? Can you not communicate if it is totally dark?
If people make it a habit to draw a somersault on every other
street as they commute to their office, take off their pants
before they fight, shake hands with strangers whenever they feel
like, give flowers or part of their clothing on streets, subways, elevator, toilet, etc., and if politicians go through a
tea house door (lowered, so people must bend very low to get
through) before they discuss anything and spend a day watching
the fountain water dance at the nearest park, the world business may slow down a little but we may have peace. To me this is
dance.
*****
All my works in the other fields have an Event bent so to
speak. People ask me why I call some works Event and others not.
They also ask me why I do not call my Events, Happenings.
Event, to me, is not an assimilation of all the other arts as
Happening seems to be, but an extrication from the various sensory perceptions. It is not a get togetherness as most happenings are, but a dealing with oneself. Also, it has no script as
happenings do, though it has something that starts it moving
the closest word for it may be a wish or hope.
000000
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YOKO'S VOICE
After unblocking ones mind, by dispensing with visual, auditory, and kinetic perceptions, what will come out of us? Would
there be anything? I wonder. And my Events are mostly spent in
wonderment.
In Kyoto, at Nanzenji Temples the High Monk was kind to let me
use one of the temples and the gardens for my Event. It is a
temple with great history, and it was an unheard of honour for
the Monk to give permission for such a use, especially, to a
woman. The Event took place from evening till dawn. About fifty
people came with the knowledge that it will last till dawn. The
instruction was to watch the sky and to touch. Some of them
were just fast asleep until dawn. Some sat in the garden, some
on the wide corridor, which is like a verandah. It was a beautiful full moon night, and the moon was so bright, that the mountains and the trees, which usually looked black under the moonlight, began to show their green. People talked about moonburn,
moonbath, and about touching the sky. Two people, I noticed,
were whispering all about their life story to each other. Once
in a while, a restless person would come to me and ask if I
was alright. I thought that was very amusing, because it was a
very warm and peaceful July night, and there was no reason why
I should not be alright. Probably he was starting to feel something happening to him, something that he did not yet know how
to cope with, the only way out for him was to come to me and
ask if I was alright. I was a little nervous about people making cigarette holes on the national treasure floors and tatami,
from being high on the moonlight, since most of the people were
young modern Japanese and some French and Americans. But nothing
like that happened. When the morning breeze started to come in,
people quietly woke up their friends, and we took a bath, three
at a time, in a bath especially prepared for us at that hour of
day. The temple bath is made of huge stone, and it is very warm.
After the bath, we had miso soup and onigiri (rice sandwich).
Without my saying anything about it, people silently swept the
room and mopped the corridor before leaving. I did not know
most of them, as they were mostly Kyoto people, and they left
without giving their names. I wonder who they were.
At another time, also in Kyoto, before the Nanzenji Event, I had
a concert at Yamaichi Hall. It was called The Strip-tease Show
(it was stripping of the mind). When I met the High Monk the
next day, he seemed a bit dissatisfied.
I went to your concert, he said.
Thank you, did you like it?
Well, why did you have those three chairs on the stage and
call it a strip-tease by three?
If it is a chair or stone or woman, it is the same thing,
my Monk.
Where is the music?
The music is in the mind, my Monk.
But that is the same with what we are doing, arent you an
avant-garde composer?
That is a label which was put by others for convenience.
For instance, does Toshiro Mayuzumi create music of your
kind?
I can only speak for myself.
Do you have many followers?
No, but I know of two men who know what I am doing. I am
very thankful for that.
Though he is a High Monk he is extremely young, he may be
younger than myself. I wonder what the Monk is doing now.
x
People talk about happening. They say that art is headed towards
that direction, that happening is assimilating the arts. I dont
believe in collectivism of art nor in having only one direction
in anything. I think it is nice to return to having many different arts, including happening, just as having many flowers. In
fact, we could have more arts smell, weight, taste, cry,
anger (competition of anger, that sort of thing), etc. People
might say, that we never experience things separately, they are
always in fusion, and that is why the happening, which is a
fusion of all sensory perceptions. Yes, I agree, but if that is
so, it is all the more reason and challenge to create a sensory
experience isolated from other sensory experiences, which is
something rare in daily life. Art is not merely a duplication of
life. To assimilate art in life, is different from art duplicating life.
But returning to having various divisions of art, does not mean,
for instance, that one must use only sounds as means to create music. One may give instructions to watch the fire for 10
days in order to create music in the mind, or drink water once a
month to create a vision in ones mind.
*
The mind is omnipresent, events in life never happen alone and
the history is forever increasing its volume. The natural
state of life and mind is complexity. At this point, what art
can offer (if it can at all - to me it seems) is an absence of
complexity, a vacuum through which you are led to a state of
complete relaxation of mind. After that you may return to the
complexity of life again, it may not be the same, or it may be,
or you may never return, but that is your problem.
Mental richness should be worried just as physical richness.
Didnt Christ say that it was like a camel trying to pass
through a needle hole, for John Cage to go to heaven? I think
it is nice to abandon what you have as much as possible, as many
mental possessions as the physical ones, as they clutter your
mind. It is nice to maintain poverty of environment, sound,
thinking and belief. It is nice to keep oneself small, like a
grain of rice, instead of expanding. Make yourself dispensable,
like paper. See little, hear little, and think little.
The body is the Bodhi Tree
The mind like a bright mirror standing
Take care to wipe it all the time
And allow no dust to cling.
- Shen-hsiu
There never was a Bodhi Tree
Nor bright mirror standing
Fundamentally, not one thing exists
So where is the dust to cling?
- Hui-neng
y.o.
1964
1964
1966
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149
150
151
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1966 1969
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1966 1969
I dont recall how Yoko found us, but as she was staying initially with the art critic
Mario Amaya, he probably suggested that she visit. 6 In actual fact, when she first
arrived in London, Ono stayed briefly in a hotel, but then went to stay with artists
John Latham and Barbara Steveni and their children for about a fortnight, 7 after
Gustav Metzger had asked if anyone could put up Ono, her husband, and their child.
It was agreed that Indica would present an exhibition by Ono, titled YOKO at
INDICA (pp. 15863). The exhibition was open from November 9 to 22, 1966.
Dunbar says: It was up to Yoko what she wanted in the show . . . The catalogue
was very elaborate and cost quite a lot to produce, but I think that Tony and Yoko
luckily raised the money for that.8
One visitor described coming to the gallery on the night before opening night:
The place wasnt really opened, but John Dunbar, the owner, was . . .
flittering around like crazy. Now Im looking at this stuff. Theres a
couple of nails on a plastic box. Then I look over and see an apple
on a standa fresh apple on a stand with a note saying apple.
I thought, you know, This is a joke, this is pretty funny. . . . I said,
How much is the apple? Two hundred pounds? Really. . . . Then
I saw this ladder on a painting leading up to the ceiling where there
was a spyglass hanging down. . . . I went up the ladder and I got
the spyglass and there was tiny little writing there. You really have to
stand on the top of the ladder . . . and you look through and it just
says YES. 9
This spectator was John Lennon.
The other works in the exhibition were mostly white and often presented in transparent plastic frames or on transparent plastic plinths. They included White Chess
Set (1966; pl. 71), in which both sets of pieces are white; Painting to Be Stepped
On (1966), an earlier version of which was included in Onos 1961 AG Gallery
show (pl. 13); and Object in Three Parts (1966), which consists of a condom, a
diaphragm, and a birth control pill, each on a separate white plinth. A great many
of the works in the exhibition were examples of her instruction paintings and
demonstrated her notion of brain painting.10 The sources for many of them were
the scores printed in the 1964 edition of her book Grapefruit.11 For example, Water
Piece (1966) was derived from the score:
PAINTING TO BE WATERED
Water every day.
1962 summer
The popular press in London had seized upon Cut Piece when it was performed
at DIAS, and had subsequently focused intensely on Onos activities, egged on
by continual pressure from Cox, who was constantly on the phone doing the
PR for Yoko.12 This attention increased after Ono decided to stay on in London,
and particularly after the news broke that she had begun shooting an expanded
version of her five-and-a-half-minute Film No. 4 (1966; pp. 16467). Both films
were sequences of close-up shots of peoples buttocks in motion. The first version
included fifteen participants, who were filmed walking across Onos apartment. The
second version, which ran for eighty minutes, featured around two hundred participants shot on a treadmill-like apparatus from behind (pl. 73). The score for the
work is: String bottoms together in place of signatures for petition of peace. 13 Ono
stated that these bottoms in fact belonged to people who represented the London
scene.14 The participants included friends and associates, as well as members of
the public who responded to a 1967 questionnaire in the underground newspaper
the International Times. (Ono had performed Touch Piece [1964; pp. 9293] at the
launch of the International Times at the Roundhouse space on October 15, 1966.)
66. Three Spoons. 1967. Plexiglas pedestal, silver plaque, and four silver spoons,
pedestal 55 x 11 14 x 11 14" (139.7 x 28.5 x 28.5 cm)
1966 1969
The film was submitted to the British Board of Film Censors for general release,
but was turned down. In March 1967, there was a demonstration against the ban.
Ono gave daffodils to people in the street as a protest, and contributed to the
bedecking of the censors office with more daffodils. A photograph of this event
got into the newspapers and the censorship became news. Probably due partly to
this commotion, the ban was overturned, and the film was finally premiered in a
cinema in Soho, London, on August 8, 1967.
Five days earlier, Onos Lion Wrapping Event (pp. 16869) in Trafalgar Square
amounted to a different kind of public event. Trafalgar Square, just a street away
from Parliament, has been called the cockpit of the nation, and has been a cradle
of protest for many years. Ono had first attempted her Trafalgar Square work the
year before, while her exhibition at Indica was on view. She had tried to cover with
paper one of the large bronze lions that guard the column celebrating Admiral
Horatio Nelsons victories, but the event was halted partway through, due to rain
and the intervention of the police. Coming back ten months later, she successfully wrapped and unwrapped one of the lions in white cloth under the gaze of the
populacewith police permission, since this time they thought Ono was shooting
a scene for a film.15
Around this time, Ono visited the newly established Lisson Gallery, near Londons
Marylebone, which was seeming to attract the attention of the emerging London
art world at that time, according to its owner, Nicholas Logsdail.16 Ono met
Logsdail, and subsequently invited him to her flat for a visit,17 after which, he said,
frequent meetings and discussions ensued. 18 The resultant exhibition, which
ran from October 11 to November 14, featured four environments: a new iteration
of The Stone (1966; pp. 13843); The Blue Room (1966); Half-A-Room (1967;
pp. 17073); and Backyard (1967). Apart from Half-A-Room, which mostly survives,
the installations have largely been lost or destroyed (though some of their constituent parts still exist and are now considered stand-alone artworks). Everything in
Half-A-Room had been halved: chairs existed as halves, as did a flower arrangement, a set of shelves, a hat, shoes, a lamp, a bed, a table, a radio. This concept is
likely to have had its emotional origins in Onos marital split.19
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155
NOTES
1.
Coxs efforts to publicize Onos work had achieved great success, but the interest
of the press and the media expanded even further when her acquaintance with
John Lennon, a Beatle after all, became deeper and more public. And although
Lennon and Ono together also fostered the publicity, the attention developed to
a point when it became over-intrusive. Thus, Ono created a score for a film titled
Rape in 1968, which proposes that a cameraman will chase a girl on a street
with a camera until she is cornered and falls over. The following year, she and
Lennon gave directions to the cameraman Nic Knowland to film the 77-minute
work. (They were not present for the filming.) Lennon biographer Ray Coleman
claimed that the film parodied the story of the Beatles escalator to success, 20 but
it is much more likely that it reflected what curator Chrissie Iles described as the
tension and fear felt by Ono and Lennon as the intrusive press and public attention
generated by their fame became increasingly harder to bear. 21 The rest of their
lives together would be in the public eye.
Clive Phillpot
1966 1969
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157
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159
YOKO AT INDICA
YOKO AT INDICA
Indica Gallery, London
November 922, 1966
1966 1969
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161
YOKO AT INDICA
69. Add Color Painting. 1961/1966. Paint, newspaper, and foil on canvas,
15 1516 x 15 1516" (40.5 x 40.5 cm)
1966 1969
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163
YOKO AT INDICA
71. Yoko Ono and Anthony Cox playing chess on Onos White Chess Set (1966),
with other works included in her exhibition at back,
at Indica Gallery, London, November 1966. Photograph: E. Wilkins
72. Yoko Ono with Ceiling Painting (1966) at Indica Gallery, London,
November 1966. Photograph: Graham Keen
1966 1969
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165
FILM NO. 4
FILM NO. 4
196667
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167
FILM NO. 4
1966 1969
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169
1966 1969
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171
HALF-A-ROOM
HALF-A-ROOM
1967
With the simple act of subtraction, Yoko Onos Half-ARoom installation turned a suite of domestic objects,
arranged as they might be in a room in an ordinary home,
into a site for rumination on the divide between body and
mind or between people. The artist cut all her chosen
items in halffrom chairs, tables, and a rug to ordinary
kitchen utensilsand painted them white. By stripping
the objects of their original function and placing them in
a roomlike installation, Ono compelled visitors to see the
familiar domestic environment in a new way.
Also titled Half-A-Spring Room, the installation
was part of Onos fall 1967 exhibition Yoko Ono HalfA-Wind Show, at the newly opened Lisson Gallery in
London. The show featured three additional environmentsincluding a new realization of The Stone (1966;
pp. 13843)as well as several objects. Three Spoons
(1967; pl. 66) comprised four (not three) silver spoons
displayed on a clear Plexiglas pedestal. The exhibition also included a new version of Hammer a Nail
Paintinga work Ono conceived in 1961 and produced
for the first time for her 1966 Indica Gallery show. Her
1967 version consisted of a metal panel and a glass
hammer, inviting an action that would inevitably shatter
the tool and thus result in the works destruction.
Photographs of the installation show Ono sitting
or standing alone in the room (pl. 78). Somebody said I
should also put half-a-person in the show, Ono reflected.
But we are halves already.1 The exhibition was the first
to include a collaborative work made by Ono and John
Lennon. The work came about when Ono told Lennon
about this half idea that she had for the show, and he
responded, Why dont you put the other half in bottles.2
Air Bottles (1967) comprised a series of empty glass
containers placed on a high shelf in the gallerys back
room; to each was affixed a handwritten label that noted
half of an object or concept.
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HALF-A-ROOM
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175
YOKO'S VOICE
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YOKO'S VOICE
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YOKO'S VOICE
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YOKO'S VOICE
It is sad that the air is the only thing we share. No matter how
close we get to each other, there is always air between us. It
is also nice that we share the air. No matter how far apart we
are, the air links us.
The switch piece is meant to be mass-produced. By using this
switch, you can dispense with a large part of language communication. Instead of shouting to your husband who is in the bath
that the dinner is ready, you can turn on the light in the bathroom from the kitchen. Instead of calling your wife and telling
her that you are coming home, you can just turn the light in her
room from 500 miles away and she will know that you are on your
way home, etc., etc. I would have a whole room of lights, like
a light flower garden, and see which friends are tuning in.
When Hammer A Nail painting was exhibited at Indica Gallery, a
person came and asked if it was alright to hammer a nail in the
painting. I said it was alright if he pays 5 shillings. Instead
of paying the 5 shillings, he asked if it was alright for him to
hammer an imaginary nail in. That was John Lennon. I thought,
so I met a guy who plays the same game I played. This time John
suggested how about selling the other half of my half-a-matter
objects in bottles. It was such a beautiul idea I decided to use
it even though it was not mine.
1966
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1966
1969
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185
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1966
1969
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187
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1969 1971
Im not somebody who wants to burn the Mona Lisa. Thats the
great difference between some revolutionaries and me.
Yoko Ono, 1972 1
In Yoko Onos archives there is a black-and-white photograph of a small threedimensional piece produced in 1968 (pl. 81), at the moment when Ono and John
Lennon were beginning to collaborate on audio works, a pursuit that would eventually embody an important aspect of their lives together. The piece, created by
Lennon and now lost, consisted of four objects on a painted wooden base. In
the forefront are a two-part transparent plastic rectangular box, an upright clear
plastic tube,2 and, at the far right, an audio cassette case. To the rear of the work
is a cube that appears to be a clear acrylic paperweight, placed on top of a small
wooden plinth.
This collection of objects might be read as stand-ins for members of a typical rock
band: the rectangle and cassette case standing in for guitar players (or a guitarist and a vocalist), the tube for a bassist, the cube for a drummer. Their presence
as hollow, transparent plastic objects, however, gives a key conceptual hint to the
workthis might be any band, or even anybody. A label applied to the base of the
piece provides the title: Plastic Ono Band.
In November 1968, around the same point in time as the sculpture was made,
Ono and Lennon released their first collaborative record, Unfinished Music No.
1: Two Virgins (pl. 80). The front cover of the 12-inch vinyl LP was adorned with a
black-and-white full-frontal nude image of the artists, photographed by Lennon.3
The verso, logically, featured a corresponding photo of them from the rear. The
recording, made in Lennons home studio in Surrey, England, can be described
as an avant-garde soundscape of audio loops featuring Lennon on various instruments filtered by audio delay and other distortions, overlaid with Onos improvised
vocals in response to the processed audio. Whereas Onos previous vocal works
were performed for people attuned to experimental music,4 Two VirginsOnos
first record albumwas released in a pressing of well over one hundred thousand
copies worldwide and thus meant to reach a broader audience.
Two Virgins was followed by Unfinished Music No. 2: Life with the Lions in May
1969 and Wedding Album in October of the same year.5 The albums tracked similar trajectories of sound, aligning Lennons music with Onos open-ended structure
and improvisational sensibilities, through which they distanced themselves from
pop formulas. The last of the three records, Wedding Album, was a kind of climax:
an elaborate boxed set containing a single LP record and an extravagant compilation of wedding-inspired ephemera, including a loose postcard of Ono and Lennon
in bed in Amsterdam under their HAIR PEACE and BED PEACE posters.6
As layered and rich as the packaging was, the audio of Wedding Album proved
to be a conundrum for listeners. Side one consisted of a single twenty-two-minute track that has often been described as the artists wailing, but is more accurately characterized as an extended recording of Ono and Lennon engaged in
what could be described as wedding-night conjugal bliss. In contrast, side two,
1969 1971
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1969 1971
81. Still from the documentary film John Lennon & Yoko Ono,
produced by Hans Preiner/ORF, showing John Lennons sculpture Plastic Ono Band (1968)
If the first third of the 1960s can be characterized by a brewing alternative scene
gathering strength just below the surface of a broader culture, then the final years
of the decade and the first part of the 1970s marked a diagrammatic shift where
counterculture merged, or at least became aligned, with society at large. The previously clear line between artists and activists, now united by a common political
1969 1971
agenda, blurred. Ono and Lennons WAR IS OVER! campaign (pp. 200203) arose
during this time. In twelve international cities prior to Christmas 1969, an assortment of postcards, posters, and large-scale billboards displaying the campaigns
title statementin each citys respective languageappeared simultaneously. No
longer needing to be tied to a single city to stage an event, Ono and Lennon,
through mass communication and large-scale distribution of their albums, now
permeated the globe by way of their art.
Despite Onos visibility during this period based on her and Lennons fusing of art
and private life, her work going forward would increasingly become independent of
her physical presence. In 1971, she returned to an elusive artistic practice that she
had begun developing in the instruction pieces assembled in her 1964 artists book,
Grapefruit (pp. 100105). Often prioritizing transitory, open-ended experiences over
objects produced by the artists hand, such pieces foreshadowed the sly, rebellious
ploy seen with her fictitious solo exhibition in 1971 (pp. 20813). Advertised by Ono
in The Village Voice and the New York Times,10 the show would allegedly be held
from December 1 to 15 at The Museum of Modern Art. While the exhibition itself
was imaginaryno works by Ono were displayed in the galleries, nor was the artist present or the event sanctioned by the Museumit was very much real in the
sense that it brought together artistic actions that warranted contemplation, though
here the actions involved absence rather than presence. At the center of this exhibition was, supposedly, a work involving flies scented with Onos perfume, Ma
Griffe, that had been released in the Museums sculpture garden.
The exhibition project included interviewing visitors to the Museum about the show
(which of course they could not have actually experienced). The interviews were
filmed, and the resulting reportage is comic and at times insightful, and only occasionally do visitors show flashes of resentment that the show was purely a subversion of their expectations. An artists booktitled Museum Of Modern (F)art, after
the artists renaming of the Museum in a manipulated photo on the books cover
added another layer of intrigue, through photographs by Iain Macmillan and Ono
that allegedly tracked the flies migration from the Museum and then throughout
New York City, which was now becoming home to Ono and Lennon.
192
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NOTES
2.
3.
4.
5.
Yoko Ono, in John and Yoko: I Dont Like All This Dribblin
Pop-Opera-Jazz. I Like Pop Records, in Hit Parader
(Derby, Conn.), February 1972: 44.
The tube is a container for a brush used to clean vinyl
records.
I thought that the best picture of her for an album would
be her naked. I was just going to record her as an artist,
we were only on those kind of terms then. So after that,
when we got together it just seemed natural for us, if we
made an album together, for both of us to be naked. John
Lennon, in The Rolling Stone Interview: John Lennon,
by Jonathan Cott, Rolling Stone, no. 22 (November 23,
1968): 14. See also Jim Buckley, In Bed With John and
Yoko, Screw: The Sex Review (New York), no. 18 (June
27, 1969): 6.
For example, Ono contributed her own original vocals to
John Cages 26'55.988" for 2 Pianists & a String Player,
performed in Osaka on October 17, 1962, and enacted her
own works in many contemporary avant-garde and Fluxus
contexts internationally throughout the 1960s.
Lennon quotes Unfinished Music No. 2: Life with the Lions
as having initially sold over sixty thousand copies in the
United States. See John & Yoko: Give Em a Chance!,
interview of John Lennon and Yoko Ono, Fusion (Boston),
no. 27 (February 20, 1970): 15.
6.
In the 1960s Ono often engaged with a host of avant-garde musicians and artists,
from John Cage to George Maciunas and other innovators associated with the
Fluxus generation. Her art took many forms, including purely conceptual actions
and performative pieces. Similarly, it grew in dimension from small-scale events
in downtown Manhattan lofts to concerts and exhibitions in formal art galleries
and recital halls, all while remaining aggressively on the edge of both worlds
these works were neither conceived entirely for consumption nor wholly distant
from a need to be performed or otherwise activated in public. And, like the mass
media and alternative-culture periodicals that came to intensely document her
every activity, both public and private, Ono continued to seek out the fine line
between artistic and political activism that challenges the entrenched establishment. Through her partnerships with Lennon, Ono was inescapably thrust into the
public eye. She used her spotlight to push popular culture in a radical direction on
the cusp of the 1970s, making their life together part of her art, and challenging
audiences unaccustomed to avant-garde performance to accept unconventional
practices that had previously resided on the margins.
David Platzker
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195
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197
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199
BED-INS
BED-INS
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201
WAR IS OVER!
WAR IS OVER!
1969
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203
WAR IS OVER!
91. Yoko Ono and John Lennon. LA GUERRE EST FINIE! (WAR IS OVER!). 1969.
Posters installed on the Avenue des Champs-Elyses, Paris.
Photograph: Agence France Presse
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205
FLY
FLY
1970
1969 1971
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FLY
93 and 94. Fly. 1970. 16mm film transferred to DVD (color, sound), 25 min.
1969 1971
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209
On November 25 and December 2, 1971, an advertisement appeared in The Village Voice announcing
the Yoko Onoone woman show (p. 23, fig. 3).1 The
ad featured an image taken in front of The Museum of
Modern Art and manipulated by Ono. Carrying a white
shopping bag with a large letter F on it, the artist
appears on the sidewalk under Museum signage
which she had inserted into the imagejust at a break
in the name, irreverently relabeling the institution the
Museum Of Modern (F)art.
The exhibition was advertised as running from
December 1 to 15, 1971. However, when visitors came
to the Museum, the only evidence of Onos show was a
sandwich board worn by a man walking outside of the
entrance, and the Village Voice ad taped to the ticket
window by Museum staff, now inscribed with a handwritten message, THIS IS NOT HERE (p. 26, fig. 6).2 The
sandwich board contained text that described the exhibition. In the Museums sculpture garden, Ono had supposedly placed a glass jar equal in volume to that of her
body and filled with flies scented with the perfume she
wore, Ma Griffe. Noting that the jar had been opened,
the text invited visitors to join Ono in tracking the insects
as they dispersed across the city. A short film, titled The
Museum of Modern Art Show, documented the publics
response.While some were incredulous, others were
moved by the absence of a concrete exhibition, including a man who reflected, The entire world in general can
be a show.
The Village Voice advertisement also included
a mail-order form that readers could send in with one
dollar to receive an exhibition catalogue. The square
white book features a sequence of photographs (taken
by Iain Macmillan and Ono) with arrows purportedly
pointing to the flies as they carried out their migration:
first through the Museums galleries, then through the
streets just outside, and finally across Manhattan and
some of the boroughs. It also includes interactive elements and original texts.
Since the early 1960s, Ono had questioned the
conventions of traditional art venues like The Museum
of Modern Art, proposing new exhibition platforms
from her Chambers Street loft (pp. 4853) and her artists book Grapefruit (pp. 100105) to her DIY dance
festivals (pp. 13637) and advertising pages. In her
one-woman show, Ono, like the surrogate flies, was
at once everywhere and nowhere, existing only in the
imaginations of visitors.
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213
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YOKO'S VOICE
Many people believe that in this age, art is dead. They despise
the artists who show in galleries and are caught up in the traditional art world. Artists themselves are beginning to lose
their confidence. They dont know whether they are doing something that still has value in this day and age where the social
problems are so vital and critical. I wondered myself about
this. Why am I still an artist? And why am I not joining the
violent revolutionaries? Then I realized that destruction is
not my game. Violent revolutionaries are trying to destroy the
establishment. That is good. But how? By killing? Killing is
such an artless thing. All you need is a coke bottle in your
hand and you can kill. But people who kill that way most often
become the next establishment after theyve killed the old.
Because they are using the same method that the old establishment used to destroy. Violent revolutionaries thinking is
very close to establishment-type thinking and ways of solving
problems.
I like to fight the establishment by using methods that are so
far removed from establishment-type thinking that the establishment doesnt know how to fight back. For instance, they cannot stamp out John and Yoko events Two Virgins, Bed Peace, Acorn
Peace, and War is Over Poster event.
Artists are not here to destroy or to create. Creating is just
as simple and artless a thing to do as destroying. Everyone
on earth has creativity. Even a housewife can create a baby.
Children are just as creative as the people whom society considers artists. Creative artists are just good enough to be considered children. Artists must not create more objects, the world
is full of everything it needs. Im bored with artists who make
big lumps of sculpture and occupy a big space with them and
think they have done something creative and allow people nothing but to applaud the lump. That is sheer narcissism. Why dont
they at least let people touch them? Money and space are wasted
on such projects when there are people starving and people who
dont have enough space to sleep or breathe.
The job of an artist is not to destroy but to change the value
of things. And by doing that, artists can change the world into
a Utopia where there is total freedom for everybody. That can be
achieved only when there is total communication in the world.
Total communication equals peace. That is our aim. That is what
artists can do for the world!
In order to change the value of things, youve got to know about
life and the situation of the world. You have to be more than a
child.
That is the difference between a childs work and an artists
work. That is the difference between an artists work and a
murderers work. We are artists. Artist is just a frame of mind.
Anybody can be an artist. It doesnt involve having a talent.
It involves only having a certain frame of mind, an attitude,
determination, and imagination that springs naturally out of the
necessity of the situation.
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YOKO'S VOICE
The aim of the feminist movement should not just end with getting more jobs in the existing society, though we should definitely work on that as well. We have to keep on going until the
whole of the female race is freed.
How are we going to go about this? This society is the very
society that killed female freedom: the society that was built
on female slavery. If we try to achieve our freedom within the
framework of the existing social set-up, men, who run the society, will continue to make a token gesture of giving us a place
in their world. Some of us will succeed in moving into elitist jobs, kicking our sisters on the way up. Others will resort
to producing babies, or being conned into thinking that joining
male perversions and madness is what equality is about: join
the army join the sexist trip, etc.
The ultimate goal of female liberation is not just to escape
from male oppression. How about liberating ourselves from our
various mind trips such as ignorance, greed, masochism, fear of
God and social conventions? Its hard to so easily dismiss the
importance of paternal influence in this society, at this time.
Since we face the reality that, in this global village, there
is very little choice but to coexist with men, we might as well
find a way to do it and do it well.
We definitely need more positive participation by men in the
care of our children. But how are we going to do this? We have
to demand it. James Baldwin has said of this problem, I cant
give a performance all day in the office and come back and give
a performance at home. Hes right. How can we expect men to
share the responsibility of childcare in the present social
conditions where his job in the office is, to him, a mere performance and where he cannot relate to the role of childcare
except as yet another performance? Contemporary men must go
through major changes in their thinking before they volunteer to
look after children, and before they even start to want to care.
Childcare is the most important issue for the future of our
generation. It is no longer a pleasure for the majority of men
and women in our society, because the whole society is geared
towards living up to a Hollywood-cum-Madison Avenue image of
men and women, and a way of life that has nothing to do with
childcare. We are in a serious identity crisis. This society is
driven by neurotic speed and force accelerated by greed, and
frustration of not being able to live up to the image of men and
women we have created for ourselves; the image has nothing to
do with the reality of people. How could we be an eternal James
Bond or Twiggy (false eyelashes, the never-had-a-baby-or-a-fullmeal look) and raise three kids on the side? In such an imagedriven culture, a piece of reality, such as a child, becomes a
direct threat to our false existence.
The only game we play together with our children is star-chasing;
sadly, not the stars in the sky, but the STARS who we think
have achieved the standard of the dream image we have imposed
on the human race. We cannot trust ourselves anymore, because we
know that we are, well . . . too real. We are forever apologetic
for being real. Excuse me for farting, excuse me for making love
and smelling like a human being, instead of that odorless celluloid prince and princess image up there on the screen.
19691971
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219
YOKO'S VOICE
A man came up to me and said May I shake hands with the hand
that shook hands with John Lennon? I said, Well, weve done
a lot of things in our time but we havent got around to doing
that yetso what are you going to do about that? He just mumbled, sort of, and shook my hand anyway. Hey, yoke, yoki, yoyo,
yoho! A is for Anger, B is for Brute, C is for Cunning, D is for
Death. Actually, Im a Lenny Bruce married to Greta Garbo, if
you must know. Two people in love never shake hands.
The shortest distance between two dots is a direct line. Direct
line is out of order. Snow in New York City in our heads.
Central Park is still summer. The air smells wise and tender.
It surrounds me without giving me any pressure like a kind
friend. It makes me feel innocent again. I was never able to
get hold of my mother without touching her manicure and fur. My
father had a huge desk in front of him that separated us permanently. There was always such a space around me. I would play
sitting in the deep gaps between tall and fat chairs. I never
liked ringing the service bell because it often made me realize
that there was nobody at the other end.
In the middle of the night I wake up in the dark. Is this Tokyo,
London, where is it? It doesnt seem to matter as long as its
on this globe. Would I care if it was on the moon? Yes, I think
I would be lonelier then though I dont know why. Sometimes the
moon looks closer than Tokyo. What would happen if I called my
mother now. Would I hit her manicure again?
The phone is glowing in the dark like an entrance to a mysterious space. Is there anything that is real I would hit if I
reached into space through that wire? Shall I call my cousin?
What time is it in Paris? I might wake up the woman he is with.
Curse the day when I was taught to be considerate its so much
like death. But that was decades ago. Now theres nobody in
Paris to call.
I think of this friend and that friend. I want to call them and
tell them how beautiful they are, how much I love them, how much
I care for themand, that when I said this, I actually meant
that. What I really wanted to say wasbut I just couldntand if
I hadif I hadWhy is calling somebody such a difficult thing
to do? They say if you write your thoughts down on paper you
dont have to send it. They get the message anyway. Shall I do
that? I doze off for awhile. Im up again at dawn. I feel something strange is happening that I cant put my finger on. At
the breakfast table, I find that one of the friends I wished to
call had died during the night. What if I had called and spoken
to her? Would it have changed anything? Things that I wanted to
tell hertheyll never be resolved now. Never is a long time.
Maybe death has resolved it all.
Dont leave me words, they haunt me. Leave me your coat to keep
me warm. I like secondhand clothes because that is like wearing
a person.
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YOKO'S VOICE
Shake my hand for what its worth. There is a wind that never
dies.
y.o.n.y. aug. 73
19691971
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223
YOKO'S VOICE
UNCOVER
Yoko Ono
November 9th, 2014, NYC
1969
1969
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225
Yoko Ono, John Lennon, Jamie Mandelkau, and William Bloom, Interview Piece: Yoko Ono &
Grapefruit, International Times 1, no. 110 (August 1226, 1971): 11, 15.
1969
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227
Yoko Ono, John Lennon, Jamie Mandelkau, and William Bloom, Interview Piece: Yoko Ono &
Grapefruit, International Times 1, no. 110 (August 1226, 1971): 20.
1969
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229
231
Eyeblink. 1966
16mm film transferred to DVD
(black-and-white, silent), 35 sec.
Included in the Fluxfilm Anthology
compiled by George Maciunas in 1966
Private collection
232
White Chess Set. 1966 (plate 71)
Wooden table, two chairs, and chess set,
all painted white, 30 516 x 24 116 x 24 116"
(77 x 61.1 x 61.1 cm)
museum moderner kunst stiftung
ludwig wien
Ceiling Painting. 1966 (plate 72)
Painted ladder, label, metal chain,
magnifying glass, and framed ink on paper,
ladder 71 1516 x 19 14 x 47 12" (182.8 x
48.9 x 120.6 cm); framed ink on paper
3 4 x 25 1 2 x
22 316" (2 x 64.8 x 56.4 cm)
Private collection
Forget It. 1966
Engraved Plexiglas pedestal and stainless
steel needle, pedestal 49 1316 x 12 x 12"
(126.5 x 30.5 x 30.5 cm); needle 3 14"
(8.2 cm)
Private collection
9 Concert Pieces for John Cage. 1966
Ink on paper, fifteen sheets, each 10 14 x
7 78" (26 x 20 cm)
John Cage Notations Collection,
Northwestern University Library
Mend Piece. 1966/1968
Broken cup, tube of glue, ink on paper,
and ink on collaged box, dimensions vary
upon installation
Collection Jon and Joanne Hendricks
Sky TV. 1966/2015
Camera, television, and closed-circuit
wiring, dimensions vary upon installation
Private collection
Film No. 4. 19661967 (plate 75)
16mm film transferred to DVD
(black-and-white, sound), 80 min.
Private collection
Wrapping Event. 1967
16mm film transferred to DVD
(color, soundtrack absent), 26 min.
Private collection
Three Spoons. 1967 (plate 66)
Plexiglas pedestal, silver plaque, and four
silver spoons, pedestal 55 x 11 14 x 11 14"
(139.7 x 28.5 x 28.5 cm)
Gilbert B. and Lila Silverman Collection,
Detroit
Half-A-Room. 1967 (plate 79)
Domestic objects cut in half, most painted
white, dimensions vary upon installation
Private collection
Glass Keys to Open the Skies. 1967
Four glass keys and Plexiglas box
with brass hinges, box 7 12 x 10 x 1 12"
(19.1 x 25.4 x 3.8 cm)
Private collection
233
SELECTED EPHEMERA
WORKS BY
YOKO ONO AND JOHN LENNON
234
235
Hendricks, Jon, and Birgit Hessellund, eds.
Yoko Ono: En Trance. Randers, Denmark:
Randers Kunstmuseum, 1990.
SELECTED BIBLIOGRAPHY
SOLO EXHIBITION
CATALOGUES
In alphabetical order
SELECTED BIBLIOGRAPHY
GROUP EXHIBITION
CATALOGUES
236
237
PHOTOGRAPHY CREDITS
Strawberryfields Forever: p. 221. First published in New York Times, August 28, 1981.
238
239
240
David Rockefeller*
Honorary Chairman
Ronald S. Lauder
Honorary Chairman
Robert B. Menschel*
Chairman Emeritus
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President Emerita
Donald B. Marron
President Emeritus
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Chairman
Marie-Jose Kravis
President
Sid R. Bass
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Mimi Haas
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Vice Chairmen
Glenn D. Lowry
Director
Richard E. Salomon
Treasurer
James Gara
Assistant Treasurer
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Mrs. Jan Cowles**
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Joan Tisch*
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Gary Winnick
Ex Officio
Glenn D. Lowry
Director
Agnes Gund*
Chairman of the Board of MoMA PS1
Sharon Percy Rockefeller
President of The International Council
Christopher Lee Apgar and Ann Schaffer
Co-Chairmen of The Contemporary
Arts Council
Bill de Blasio
Mayor of the City of New York
Scott M. Stringer
Comptroller of the City of New York
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Speaker of the Council of the City of
New York
*Life Trustee
**Honorary Trustee