Destruction Art of Yoko Ono - Research Paper Example

Yoko Ono The life of Ono and her work received misunderstanding from many people. Therefore, a continuous reevaluation and research helps in comprehending him and his position within the context of performance art. The section looks into Yoko Ono’s work based on “destruction art”. This art originated from the cultural and artistic work during 1960s. The “destruction art” was termed as survivor’s discourse. The survivor’s discourse was the only technique where the visual art coped within the society that was structured with violence and death threats. The art was an ethical matter where the survivors tried exposing the violence and their histories. Most of the artists were both concerned with destruction of physical materials and objects and using media to address the issues of violence and destruction. In the entire career of Yoko Ono, she defied the usual contemporary of arts by making use of the concept power to convey the philosophical and aesthetic meaning. Yoko Ono’s work has since addressed the issues related to destruction through modification of objects, presentation of objects, conceptual instructions, and conceptual performance. Incorporating the issues of destruction in her work, promoted creative thinking, drawing the destruction reality hides in the social and physical body. Most of her works are an annexed with the unusual experiences in the beginning of her life. Today, Yoko is an artist that was influential because he pushed the boundaries of film, art, and music and theatre media. Yoko Ono’s ideas and work had an enormous influence on a whole generation in 60s and early 70s. It has remained a crucial mark in the development of various forms of art in every part of the world today. Between 1961 and 1962, she made a collection of pieces that he termed as the instruction paintings. The instruction paintings were a collection of typed instructions that was originally typed in Japanese and later typed in English. The work created some piece of imagination in the mind of audience this is because the images were absent. For instance the destructive work like the Cut Piece, the members of the audience were invited on stage to cut the pieces of Ono’s clothe. Yoko Ono used intangible and ephemeral materials to draw the audience back to the philosophical and conceptual state. Yoko Ono worked with Perspex and glass, plays with silence and noise, and she also created temporary pieces from shadows and touch and she normally used the white color since it does not have an effect on the thought of the audience. In her work called “Chess Set”, Yoko Ono removed the competition elements from the game by making the opposite side to be the same. She later created a different version of her work terming it playing it by trust, meaning the game on war strategy could soon become the collaboration and cooperation process. The “Painting toHammer a Nail”, where the spectators destroyed the art canvas using nails, alluded to the self-discovery process. In Cut Piece’ the performer sat on stage having scissors in front. It is announced that the audience may enter the stage, and cut the performer’s clothing and take with them. The performer remained static in the entire piece. Cutting of the pieces ended with the option of the performer. The inspiration of Ono for the cut piece was the Buddha’s legend, who renounced his own life to steer the world, giving his commitment. His soul attained supreme enlightenment when he directed to divert his body, and Ono achieved parallels between the artists and Buddha is giving. When addressing important issues; here sexual aggression voyeurism, gender subordination, woman’s personal space violation, and violence against the women. Her piece of work has received a lot of press in the last 17 years that during 3 or 4 years that was performed by Ono initially. Mostly, the expert opinion was based on the photographs and deblochedions. A canonically feminist work from 1990, Cut piece began the life on a different angle. The aesthetics of Ono of reception accommodates both the readings and much more numerous in reviewing the pages. The Cut Piece interpretations as feminist work and as striptease are finally revealing of the interpreters as they are for artist that conceived work. Reading the Cut Piece as anti-authoritarian, feminist, pacifist, Christian, Buddhist, and as a striptease is all valid. The various interpretations by audiences, performers, critics, and artist have testified the work to have great power (Shiner, 7). Therefore, the apparent absence of images, combined with the instructions of the artist forced the audience to create the work in their imagination (Hopkins, 75). Ono found ways in combining dangerous poetry confrontation through personal vulnerability, spiritually, and edgy laughter. Ono discussed his work in 1967 article that the work used giving and taking. This was meant to be criticism technique against the artists, who always give when they need to give. He wanted the audience to take what they wanted, so it was crucial to cut whatever you feel like. Buddhism connects with giving. There is literature about Buddha. He left the caste accompanied by his wife and siblings towards the mountain and head for mediation. As he walked along, he encountered a man who was interested on his children for sell. Buddha admitted and gave him the children. Another person said he was interested in the wife of Buddha and he gave consent. Someone said he was cold, and he gave him clothes. Finally, came a tiger, and he gave tiger that consent to eat him. Immediately, Tiger ate him, this made him become enlightens. That is a form of complete giving as opposed to giving reasonably like deserving it logically or thinking it to be good; therefore, he gave it to him (Munroe, 20). Cutting of the pieces ended with the option of the performer. The inspiration of Ono for the cut piece was the Buddha’s legend, who renounced his own life to steer the world, giving his commitment. His soul attained supreme enlightenment when he directed to divert his body, and Ono achieved parallels between the artists and Buddha is giving. When addressing important issues here sexual aggression voyeurism, gender subordination, woman’s personal space violation, and violence against the women. Ono found ways in combining dangerous poetry confrontation through personal vulnerability, spiritually, and edgy laughter. The ideas of Yoko Ono had a massive influence on the entire generation in 60s and 70s when working with the husband. Their music and their political contest was an extension of the performances, scores, and writings that he did in the past. The political protests and the music were the subjects of the media coverage. Ironically, the artist is famous for another destruction piece called The Woman who broke up the Beatles. The destruction art of Yoko Ono is ground-breaking, imaginative, and confrontational (Lennon, 32). The artist asked participants to envision realities involving people who smoke bodies and dying multiple times. After the war, the conceptual work of Ono offered positive influence positive life affirmation and methods to envision reality in various ways. The work of Ono has indeed fitted with destruction art explanation as ethical endeavor and represents violence having violent actions. She turned into points of thoughtful discussion and inquiry, contrasting destructive tones with instructions that are outrageous. Her piece of work tackled issues of war, sexism, and victimization; she did not lose her humor and she created work that were comical, light hearted, and sweet. Yoko Ono conceptual work was innovative since through her instructions, may seem trivial or strange on the surface. She also penetrated deeply powerful and personal spaces within a person and its social body. REFERENCE Hopkins, Jerry. Yoko Ono. New York: Macmillan, 1986. Print. Lennon, John, Yōko Ono, David Sheff, and G. Barry Golson. All we are saying: the last major interview with John Lennon and Yoko Ono. New York: St. Martins Griffin, 2000. Print. Lennon, John. [The artwork of John Lennon]. Santa Rosa, CA: Legacy Productions, 2000. Print. Munroe, Alexandra. Yoko Ono. To the light. Köln: Buchhandlung Walther König, 2013. Print. Pilchak, Angela M.. Contemporary musicians profiles of the people in music. Detroit, Mich.: Thomson Gale, 2007. Print. Shiner, Eric C., Reiko Tomii, and N.Y. York. Making a home: Japanese contemporary artists in New York. New York: Japan Society ;, 2007. Print. Read More