Reconsidering Yoko Ono

LISA CARVER HPIM3601The following is an excerpt of Reaching Out With No Hands by Lisa Carver, as posted on SOMETHING ELSE Reviews. Please visit their site for the full excerpt.

In the Indica Gallery in London in 1966, Yoko had an apple for sale for £200. That’s US $3,000 in today’s dollars. This is the apple John Lennon walked in and bit, when he didn’t know Yoko Ono, and apparently he didn’t see the price tag or didn’t respect that this apple was an art piece.

John Lennon could buy anything — a pet monkey, a plane, a posse. When money is limitless, all things lose meaning –when they can’t be dreamt of and saved for, and maybe not gotten. How refreshing it must have been to see value inverted. If what is free (to be plucked easily off trees seeming to line every path) can be made beyond the common man’s ability to acquire, than what is beyond the common man’s ability to acquire must be free. How amazing, this apple!

How nice for Yoko that someone would mistake her art piece for the real thing, and bite it. All of her art was turning the real thing into art pieces so people would put on their special important expensive viewing eyes and just maybe they would see it, what had been there all along. They could have seen the real thing all the time, everywhere, but forgot to.

All Yoko Ono ever wanted was for people to bite what they thought could not be bitten, see what they thought could not be seen, know what they thought could not be known.

She was, it seems, Satan.

But there was a mistake in telling the story. Satan was the good guy. God didn’t want us to bite the apple of knowledge because then we’d know we were Him, and the patriarchy, the whole order of things, would turn to dust.

Keep reading this excerpt on SOMETHING ELSE Reviews.

Reaching Out With No Hands

Many people are aware of Yoko Ono’s art, and her music has always split crowds, from her caterwauling earliest work to her later dance numbers, but how many people have looked at Yoko Ono’s decades-spanning career and varied work in total and asked the simple question, “Is it any good?” A must-read for art and music fans interested in going beyond the stereotyped observations of Yoko as a Lennon hanger-on or inconsequential avant noisemaker.

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