Yoko Ono: Is Twitter a New Form of Fluxus?

Yoko Ono in 2010, photo courtesy of Splash News

I have always enjoyed Yoko Ono. And even while some have blamed her for the break-up of the Beatles and dislike her ongoing feud with Paul McCartney, and more recently have charged her with holding out on the release of the Beatles' music catalogue to iTunes (telling Reuter's with respect to the matter, "Don't hold your breath ... for anything."), I think she remains very much misunderstood. Pundits routinely write off Ono’s artistic contributions without much understanding about what her position in the art world was all about prior to becoming Mrs. John Lennon. Even Lennon described her as "the world's most famous unknown artist: everybody knows her name, but nobody knows what she does."

I believe her increasing profile on Twitter, however, will do something to change that. In recent months as I have given more critical attention to the potential of social networking in my world, my level of interest in Twitter piqued when I began following Yoko Ono’s Twitter account. I had spotted her name as the only visual artist on some celebrity top-50 Twitter list next to the likes of MC Hammer, William Shatner, and the Ellen Show while web-surfing, and ended up creating an account just to follow her tweets (I was then quickly turned on to Douglas Coupland’s account and I was hooked). What I immediately began to recognize in Ono’s 140 word-or-less messages was her artistic sensibilities on keen display, taking what she had learned as a Fluxus artist and updating it to a new technological medium.

Fluxus, taken from the Latin word “to flow," refers to an international art movement that first gained in popularity through the mid to late 1960’s. Ono herself became an influential member of the movement in New York and worked closely with the likes of John Cage and Nam June Paik. One of the guiding principles of Fluxus, alluded to in the Fluxus manifesto of 1963 and later refined by Dick Higgins in a 1966 essay, was the idea of Intermedia—interdisciplinary activities that occur between genres. For Ono, her art practice has displayed this tendency with her interest in performance art and happenings. In 1964, she performed her now famous Cut Piece (see video below), a work that explored the boundaries of social interaction and the collaborative construction of art works. I see Ono’s growing popularity on Twitter as an extension of her Fluxus roots—utilizing the social framework to test those same boundaries in new and innovative ways. Her latest tweet, made just an hour before making this post reads: “We carry the joy and the guilt of being one.”

Now I am wondering if I should follow Lady Gaga on Twitter as well?......(no eye rolls please, you know who you are). You can follow me on Twitter, but I cannot claim to be as witty as Yoko.

Yoko Ono performing Cut Piece in 1965—as a total coincidence, this work was re-performed yesterday in New York at the MoMA store in SoHo (but that can be saved for another post)



Further Reading:

Concannon, Kevin. "Yoko Ono's Cut Piece: From Text to Performance and Back Again." PAJ: A Journal of Performance & Art 30.90 (2008): 81-93.

Foster, Gwendolyn Audrey. "Self-Stylization and Performativity in the Work of Yoko Ono, Yayoi Kusama and Mariko Mori." Quarterly Review of Film & Video 27.4 (2010): 267-275.

Update: Murakami to Join Macy's Day Parade

Murakami's Kiki and Kaikai characters

As a timely update to my post on Murakami yesterday, Art Forum is reporting that Kaikai and Kiki, two of the artist's most iconic characters will be joining other traditional cartoon helium balloon characters in the spectacle that is the New York City Macy's Day Parade on November 25th (the prelude to one of the biggest shopping days of the year in the United States). Thanks as well to Derrick for pointing me to this great link at Curated that has an image of the plans for the characters. I have also added a video below with an extended discussion about Murakami's work by New York art critic Jerry Saltz, made more famous lately by his appearances on Bravo's Work of Art: Next Great Artist TV series (the subject of a future post I promise). 

Art Critic Jerry Saltz on Murakami

Franzen Fever All Over Again

It took me all of four days to cave and buy a copy of Jonathan Franzen's latest novel, Freedom. I had decided some weeks ago that I would wait to see if all of the hype surrounding the much awaited novel by the author who dared to opt out of Oprah's book club (not to be confused with the author James Frey who had been kicked out) was legitimate. Nine years ago, only a few weeks ahead of the 9-11 event in NYC, Franzen debuted The Corrections and quickly rose to popular attention with a novel that seemed to touch on the growing anxieties and inter-generational tensions of North American society with alarming familiarity. I recall now reading the book over several months and oscillating between loving it for its honesty, and hating it for its pessimism (as a side note, the last book that did that for me was Jonathan Littell's The Kindly Ones, a book I talked about a great deal in my classes last year). It was one of those books you think about again years after reading it.

Hype is an odd phenomenon and it can be double-edged. When Franzen made the decision to take a stand against what he deemed the corporate logo of the Oprah Book Club-- that familiar "sticker" that is actually now permanently affixed to any book that enters her list-- he only added to the publicity surrounding his well reviewed book and drew attention to normally taboo questions about literacy, class, and the social divide in America that also ironically forms the themes of his novels. At the time, Laura Miller at Salon summed up the sentiments in an astute article surrounding the controversy: "The sad and petty truth is that far too many book lovers don't really want a good book to reach a large audience because that would tarnish the aura of specialness they enjoy as connoisseurs of literary merit." Nine years later, I would add that the effect of social networking and "word-of-mouth" endorsements that build interest in consumer items (my blog included) has only complicated the strategy of publishers to sell their books. Is there any doubt that the move to publicize Barack Obama's early endorsement of Freedom a few weeks ahead of the book launch (he was "caught" reading it on vacation in Martha's Vineyard) was just another form of the Oprah book club phenomenon. The New York Times even asked the question this weekend, "Are you reading what he's reading?" in a great think piece. Obama is, after all, positioned as a public intellectual, someone who has little to gain personally from Franzen's book sales. But he is pretty friendly with Oprah..... and so the hype builds.

I held off to read the reviews (and quite honestly to see if a Kindle version of the book would emerge-- and it did) and there seems to be consensus once again that Franzen has written another excellent novel. The New York Times review has gone so far as to call Freedom "a masterpiece of American fiction", but I was finally sold reading Kirk Lapointe's review in the Vancouver Sun which raved about the book for "how modern it speaks and how old-fashioned it reads." Love that. Sometimes the hype seems to measure up, and in this case I am so glad.

Check out this brilliant (and purposely awkward) video of Jonathan Franzen discussing Freedom and the tensions between narrative and visual media. 

Murakami Japanese Pop and Versailles French Baroque: A Clash of Artistic Sensibilities or Something Else?

Takashi Murakami, Oval Buddha Silver (2008) at Palace of Versailles

Takashi Murakami is one of those artists you either really like or really do not. My decision to make him the subject of this blog's first "Click and Muse" poll (on the right hand of the home page) is case in point. Perhaps for this reason alone he has continued to spark controversy with his unabashed fusion of visual arts and popular culture references, culminating in his theories of the "superflat" art movement, and his not so veiled hommage to the grandmaster of pop art, Andy Warhol. Murakami's close connection and working relationship with popular fashion and music icons (Marc Jacobs, creative director for Louis Vuitton (see video clip below) and hip hop superstar Kanye West to name but two) has also done much to polarize those in the art world who cannot decide if he is more businessman than serious artist.

This past week Murakami once again made the headlines with his much anticipated exhibition opening September 14th at the historic Palace of Versailles, ground zero for French Baroque and a symbolic monument to more traditional notions of French culture. A showstopping spectacle for many will be his 18.5 foot tall Oval Buddha (pictured above, and which also famously spent some time in a midtown Manhattan sculpture park in 2008) set center stage in Louis XIV's famous home. The character was originally conceived in 1999 when Murakami was asked to create an iconic figure for a line of Issey Miyake t-shirts and has subsequently appeared in a number of the artist's projects-- a hybrid of traditional Buddhist sculpture and Murakami's signature iconography (yes, it kind of looks like Hello Kitty, that is the point).

ArtInfo reports that the "right wing" Coordination de la Défense de Versailles (CDV) has now organized a protest against the show and declared that Murakami's presence at the Palace represents "the veritable ‘murder’ of our heritage, our artistic identity, and our most sacred culture." Not surprisingly, Murakami's artist statement suggests that he is well aware of the hype: "I am the Cheshire cat that welcomes Alice in Wonderland with its diabolic smile, and chatters away as she wanders around the Château." The Anime News Network has reported upwards of 4,000 signatures already gathered by the group. And yet another interesting factoid is that the Qatar Museums Authority--who have no contemporary art collections themselves, but appear to be following the tastes of the Quatar's royal family who have particular appetite for all things Damien Hirst--are the main sponsors of the show.

All of this of course begs the question of what is actually being protested. Is it the work of Murakami and its blend of commercialism and what the CDV terms "inferior aesthetics"? Is it the fact that French cultural exports and those who design, influence, and consume them are increasingly non-Western? Or is it just another instance of Samuel Huntington's "Clash of Civilizations" thesis rearing its ugly head whereby the state of globalizing art markets and the power of taste-makers residing in remote Arab countries to select and position Murakami's work in the symbolic center of traditional French territory rings some kind of alarm bell to right-wing French reactionaries? Probably all of the above. In any case, it will be fascinating to see how the French and international public respond to the Murakami show in the months to come. No doubt in my mind that the issue of Quatar's sponsorship of the event will increasingly come to the fore of debate.

Marc Jacobs on Murakami


Further Reading:

Steinberg, Marc. "Otaku consumption, superflat art and the return to Edo." Japan Forum 16.3 (2004): 449-471.

Darling, Michael. "Plumbing the Depths of Superflatness." Art Journal 60.3 (2001): 76.

SFU Contemporary Arts at Woodward's, Check Your Class Schedules

For those of you like me who (happily) discovered over the last few weeks that almost all of the SFU School for the Contemporary Arts lecture and seminar courses are now running either in the Woodward's building, or down the street at Harbour Centre in downtown Vancouver, make sure to check your schedules for class times and places. I have a sinking feeling some of you are going to end up searching around Burnaby for one of my classes or the office! For more information about this transition, you can check out the SFU Woodward's page and also follow the events at the new space on Twitter. By the way, if you are looking for the SCA building out on the main campus, you will find this (picture now on rotation in those headers at http://www.sfu.ca/ ):