I saw the YES YOKO ONO show here and was underwhelmed. Much of her earlier work is
precise, honed, elegant, effective. But as one goes forward in the work, it becomes
ingenuous, dreamy in a way I find silly, less and less pointed, more and more naif.
For someone with her brains, freedom, means, and power, I think something more can be
expected--at the very least, she should have been able to ensure that the work was not
enshrined and objectified, rather than conniving in this very thing. I got mad.
AK
Josh Ronsen wrote:
> Eryk Salvaggio wrote:
>
> >At one point, there was the Yoko Ono Nail piece, with the
> >hammers and a bucket of nails, which confused a seven year
> >old girl to no end. She couldn't understand why the nails
> >and hammers were out in the open if people weren't allowed
> >to put nails into the canvas, on account of all of the
> >enormous "Do Not Touch The Art" signs. It was pretty great,
> >and probably the best critique of Yoko Ono's work I'd heard.
>
> The big Yoko Ono exhibit "YES YOKO ONO" is now showing at the Houston Contemporary
>Museum of Art, which I am somewhat excited to see. What I am not excited to see is
>how the pieces from the 60's have turned from interesting pieces of art into
>do-not-touch museum commodity objects. For example, I called the museum yesterday and
>asked if one could climb the ladder in "Celing Piece." "No, of course not," was the
>answer.
>
> It is a sad day when anti-art turns into art...
>
> Maybe when I go I can make my own mini version of the piece. One would climb a
>step-stool that had a pole attached to it. Hanging from the pole would be a string
>holding a magnifying glass and a little piece of paper that says "NO."
>
> -Josh Ronsen
> http://www.nd.org/jronsen
>
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