When George Harrison leaves, briefly leaving the group, there is Ono, inchoating moaning into his mic.Īt first, I found Ono’s pervasiveness in the documentary bizarre, even baffling. Later, when the group rushes into a recording booth, Ono is there, wedged between Lennon and Ringo Starr, silently unwrapping a piece of chewing gum and working it through Lennon’s fingers. Lennon slips behind the piano and Ono is there, his head hovering over his shoulder. When the band starts “Don’t Let Me Down”, Ono is there, reading a newspaper. When Paul McCartney starts playing âI’ve Got a Feeling,â Ono is there, sewing a furry object into his lap. She perches within reach of John Lennon, her puzzled face turned to him like a plant growing into the light.
THE SPECTACLE YOKO ONO BEATLES MOVIE
Īt the start of âThe Beatles: Get Back,â Peter Jackson’s nearly eight-hour documentary on the making of the âLet It Beâ album, the group forms a tight circle in the corner of a movie scene.
THE SPECTACLE YOKO ONO BEATLES DOWNLOAD
It can.” That’s a bridge we could all use right now.To hear more audio stories from publications like the New York Times, download Audm for iPhone or Android. “Most people are not aware their anger can take them across this river to the other side.
“ The Riverbed is over the river in between life and death,” she once said. On each, Ono will have written a single word: “imagine,” “dream,” “remember.” Viewers will be invited to hold a stone as a cathartic act, purging anger and fear so prevalent in these tense times.įar from denying the fractures of the current moment, Ono embraces them. A pile of river rock, smoothed by rushing water, will be placed in the gallery.
Another work, Line Piece, asks viewers to string lengths of twine through the gallery, embodying both the vast distances between us and the stubborn connections that persist.įor Stone Piece, the last of the three to be seen here, Ono invokes equal parts conceptualism and the Japanese practice of Zen, which has informed much of her work. The exhibition will be a living, evolving document of collective action. Still, The Riverbed eschews spectacle in a moment where simple gestures toward togetherness and belonging seem like radical things. It’s’ a timely intervention for a fractious time, though it predates the current apex of things (the piece was first shown at the Andrea Rosen Gallery in New York in 2015). In Mend Piece, an array of broken crockery is splayed on a table, with bottles of glue and lengths of string positioned invitingly throughout, and the appeal is clear: to sit down together and repair what was broken. The Riverbed is a quietly poetic call to action from the audience. Ono, 84, however tied her public persona may be to the Beatles through her late husband, John Lennon, is one of the forebears of conceptual art, a movement born in the early ’60s that favoured the execution of ideas and action over the making of things. Called The Riverbed, the exhibition favours quiet contemplation over sparkly spectacle and roots itself in the dilemma of our times. On Tuesday, the Gardiner Museum announced that it would host an exhibition of Yoko Ono’s work, opening this February, and it’s everything that Kusama’s glittering, perception-busting work is not. If you’re still vibrating from the online frenzy over Yayoi Kusama tickets at the AGO, which stuck people in online queues more than 12 hours long last week, then take heart: a slightly less hot ticket by a no less renowned octogenarian Japanese woman artist should provide the soothing calmness its aftermath might demand.
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