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It’s subtle and pernicious as hell how this happens. How we transform something that’s supposed to make us more open and balanced into a shiny new prison of things, jargon, and obligations.
John Lennon liked to joke that Yoko Ono was “the world’s most famous unknown artist.” Before she infamously “broke up the Beatles” (but not really), Ono built an internationally recognized career as an artist in the developing fields of Conceptual art, experimental film, and performance art. Unfairly famous then and now for all the wrong reasons, Ono’s long fought in her own humorously sly way for recognition, beginning with her self-staged 1971 “show” Museum of Modern (F)art, a performance piece in which she dreamed of a one-woman exhibition of her work at the Museum of Modern Art, New York. Now, more than 40 years later, the MoMA makes that dream come true with the exhibition Yoko Ono: One Woman Show, 1960–1971. Better late than never, this exhibition of the pre-Lennon and early-Lennon Ono establishes her not just as the world’s most famous unknown artist, but the most unfairly unknown one, too.
Govert Schilling’s new book deserves a place in everyone’s life. “Imagination will often carry us to worlds that never were. But without it we go nowhere.” –Carl Sagan Imagine the […]
A day after forecasters unanimously predicted a snowstorm of epic proportions for New York City, and the mayor ordered eight million people to stay off the roads, the predictions failed to materialize. The city received inches of snow rather than the feet predicted. A good thing, to be sure, but how did such dire predictions miss the mark?