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...want Harvard University and MIT professors to share with the community and give up time” by meeting with local cultural associations, he says. “It only takes 20, 30 minutes to talk to people, and then I could record it and show it on my TV show...
Article to Be Written in Your Head: See Yoko Ono’s retrospective “YES Yoko Ono” at the MIT List Visual Arts Center. Imagine an article that discusses the history and significance of her work. Try to forget that she married John Lennon...
...MIT retrospective offers an incomparable opportunity to take stock of this often overlooked and misunderstood figure, long admired by the art world but demonized by the general public. Mention Ono and you inevitably summon up two popular misconceptions: first, that she single-handedly disbanded the Beatles, and second, that her artistic celebrity was purely by association. As the MIT exhibit suggests, both statements are patently false. While Ono and Lennon’s infamous “Bed-In,” in which the newlyweds occupied hotel rooms to protest the Vietnam War, attracted media attention solely through Lennon?...
...chronological layout of the MIT exhibition highlights the major themes in Ono’s work as they developed from her 1961 debut, beginning with her infamous instructions. These radical scripts suggested that art no longer consisted of impersonal objects meant to be studied and admired; instead, the audience now played a central role in “realizing” a work of art, which was as much “in the mind” as on the gallery wall. In their focus on process rather than product, these pieces also show the influence of the Fluxus group...
...Yoko Ono. After a retrospective in 1971 at the Whitney, Ono focused on music and video composition until a brief return to the art world in 1988 with some bronze casts of earlier works. Scattered pieces in the 90s are of interest (though few are included at MIT), but lack the visionary drama of her first events and performances. Instead, Ono’s idealistic faith in shared values and experiences has been channeled into new works that, lacking her former intellectual rigor, are more consolatory than conceptual. “Blueprint for a Sunrise” (2000), for example...