By Chris Lane
By Jef With One F
By Chris Lane
By Olivia Flores Alvarez
By Angelica Leicht
By Jef Rouner
By Jef With One F
By Jef With One F
A brief bio of Ono's early years reveals a privileged upbringing. She was born to a wealthy, aristocratic Japanese banking family. With Japan's current emperor as one of her classmates, she received an extensive education in classical music, German lieder and Italian opera. In 1952 Ono became the first woman admitted to study philosophy at Gakushuin University in Kyoto. She became disillusioned with academia and decided to join her family in New York, where her father was an executive for the Bank of Tokyo. Ono continued her studies at Sarah Lawrence College and eventually found her way into Lower Manhattan's art scene, where she began to create objects and performances associated with the Fluxus movement.
The works in the CAM exhibition, many of which were originally interactive or performance-oriented, feel like relics. The preponderance of "modern" Plexiglas makes it all seem quaint. Many of the objects are a little banged around, a little worse for the wear. Ono has not been precious with her work. You've probably heard by now that the "YES" piece of the show's title is on display. Ceiling Painting (Y E S Painting) is the famed white ladder that Lennon climbed to the top, where he picked up a magnifying glass and spotted the word "yes" written on the ceiling. That hopeful affirmation introduced the former working-class Liverpudlian to Ono at her 1966 Indica Gallery show.
Ono was the first artist to develop a conceptual approach when she made "idea" the subject of art in her 1962 series "Instructions for Paintings." Written on paper in neat Japanese characters, Ono's works function somewhat differently for viewers lacking the appropriate language skills. We can't read them, so they seem more visual than originally intended, but tiny cards with translations are available below. The works are wonderfully conceptual and poetic, with a feeling of haiku about them. Although they presaged the conceptual work of Joseph Kosuth and Lawrence Weiner by several years, their poetic, less didactic nature caused them to be perceived as "soft" or less intellectually rigorous. If there is such a thing, they have a more feminine sensibility, deemed lesser by the boys of the avant-garde. Just 'cause they were avant-garde doesn't mean they weren't sexist.
Open the lid of Ono's Box of Smile (1967), and its mirrored bottom reflects you back at you. With a Zen sensibility, it is simple, charming and hopeful. Do complex, alienating and negative themes make for a more "serious" artwork? People forget that humor was frequently an intentional component of art, which in documentary photographs seems esoteric and obscure. For AMAZE (1971), Ono created a labyrinth from Plexiglas. Wind your way to its center, and you find a toilet. At her talk when the CAM exhibition opened in mid-July, Ono was asked, "Why not a chair or a table? Why a toilet?" She replied, "I thought that was humor" and smiled wryly.
The works have their ups and downs through her broad range of media and interests. It's hard to pin down her art, to succinctly set out her territory of exploration. That hasn't helped her career. Ono's work also could function as a cautionary tale to young artists, albeit a cynical one. Take care -- do not have a diverse and wide-ranging output that cannot be easily categorized. The powers that be won't know what to do with you. And oh, yeah -- don't marry a celebrity.
Ono's performances and videos are some of her most compelling work. Cut Piece (1964) is still pertinent and edgy commentary 37 years after the fact. Imagine how it was perceived at the time. In short, Cut Piece entailed Ono sitting or kneeling on a stage. Members of the audience were invited to snip off pieces of her clothing. The performance explored issues related to art, gender and culture. Ono submitted to the actions of others, but what role did the others play? It differed by culture and gender. When she performed the piece in Kyoto, the audience was discreet as they snipped away the fabric. At her performance in London, the presence of cameras and press incited the crowd. Ono's clothes were cut away completely, and she was left sitting naked.
In a film documenting her New York performance, you see how audience members respond to the situation. The women appear to be more considerate and snip away pieces at the collar or the sleeve. One young man bounces up, takes the scissors and grasps the fabric over Ono's breast. He snips away a circle of black cloth over her nipple to reveal her white slip underneath. Most commentary about the performances states that Ono remains impassive and expressionless throughout. This is not entirely true. She adheres to the conceptual program she has set out, but you glimpse her exasperation at his childishness.