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Winds Of Change
Yoko Ono presents artistry in nature.
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y now, the initial meeting nam War protest, the John and ed edition of 25 has toured
of John Lennon and Yoko Yoko social-activist partnership Europe, Asia and the United
Ono has taken on a myth- designed a billboard in New York States. 'This is the only work like
ic quality. In the mid- City that read: "War is Over"
1960s, Ono, an established and in smaller type beneath: "if this she's done," said DeCillis.
conceptual artist, had a show that you want it." A provocative "Most of her other pieces are large
sculptures or pieces you partici-
included a "participatory piece" thought that further infuriated
pate
in that have to be shown in
whereby the viewer would look the Nixon administration and a museum."
through a scope, imagine the sky Pentagon.
Yoko Ono gone traditional?
at the other end and then, find
Since the time of John and
To baby boomers, who recall
the word "yes," which Ono had Yoko, artists like Madonna have
John
and Yoko's bed-in for peace
written somewhere in the continued to redefine outra-
shortly after their 1969 wedding,
makeshift expanse.
geousness while often lacking the thought of Ono as a conserv-
Lennon, the most intellectual both their passion and social ative artist seems anathema. But
Beatle, it is told, enjoyed the pri- purpose. Even the admirable
she's always been one to scorn ti-
vate affirmation. It was a mod- acts of Willie Nelson for "Farm tles
or be categorized.
ern-day love-story epiphany. The Aid" and Bruce Springsteen and
Interestingly,
while the Beat-
Lennon-Ono conceptual kinship
les
were
expanding
pop music
grew into a relationship between
possibilities,
Ono
similarly
soul mates. John and Yoko be-
pursued
a
way
to
expand
in-
came synonymous.
tellectual
horizons
of
the
art
The relationship hardly found
world.
In
contrast
to
the
pop
broader public acceptance. On the
art of Andy Warhol, Roy Licht-
contrary, Ono often found herself
enstein
and James Rosenquist,
as the target of public scorn and
Ono
simply
wanted to show a
critics' venom. Wasn't she the one
new way of looking at art and
who broke up the Beatles? Hard-
life.
ly.
Granted, her conceptual art
We've known for some time
often
seemed too obvious and
now that the demise of the Fab
bizarre — like her 1962 exhibit
Four was cast long before
Ono sat in on the "Let It Be"
sessions. She didn't break
up John, Paul, George and
.00106
Ringo. It was altogether an-
other force: disagreements
40 0"
over business matters.
"11*
For simply being there at
the unraveling of the Beat-
les and being married to
John Lennon, Ono has had
to endure as an inescapable
victim of celebrity. Unfor-
tunately, often forgotten by
the public are her hopeful,
avant-garde stirrings.
Top:
During the past three decades,
The Four Winds — North
however, Ono's artistry hasn't es-
Middle left:
caped the critical notice of Diane
The Four Winds — South
DeCillis, owner of the Print
Gallery in Southfield. Until the
Middle right:
end of the year, the Print Gallery
The Four Winds — East
will exhibit three calligraphy
suites of Ono's, simply titled "The
Bottom:
Four Winds."
The Four Winds — West
"There's a poetry throughout
these pieces," said DeCillis, who
opened her store 18 years ago in
its present location along North- others in protest against
western Highway. "She (Ono) has apartheid in South Africa owe at the Sogetsu Art Center in
always presented a new way of gratitude to John and Yoko, who Tokyo. The exhibit featured the
"instructions for painting" with-
looking at something."
made positive use of their out displaying the actual paint-
At one time, the only thing pre- celebrity.
ings in the huge gallery space.
dictable about either Lennon or
Ironically, Ono, once again,
Ono was that they did the unex- trips up her critics in "The Four While Ono has shown a flare for
pected and outrageous. Their Winds," a beautifully understat- experimental art, she usually hits
mark with the more roman-
public acts, it should be recalled, ed collection of traditional Japan- her
tic pieces.
always were tied to heightening ese prints on rice paper.
Early in her career, she exhib-
public awareness of a cause — the
The calligraphy serigraphs or ited "Painting for the Wind." The
Vietnam War, violence, inequal- suites represent Ono's interpre-
conceptual piece came with in-
ity.
tation of the winds of the north, structions: Cut a hole in a bag
During the height of the Viet- south, east and west. The limit-
filled with seeds of any kind and
OD
'11