During a visit to Moe’s Tavern in a 1993 episode of The Simpsons, a character based on Yoko Ono famously ordered “a single plum, floating in perfume, served in a man’s hat.”
In a woodsy patch of a park tucked next to a stream, one of Yoko Ono’s most unusual creations can be found in what is, for any artist’s work, a most unexpected setting.
Take Me (I’m Yours) is a re-staging of a show that first appeared at the Serpentine Gallery in 1995, when it was conceived of by curator Hans Ulrich Obrist and artist Christian Boltanski. In this 2016 New York edition, curators Obrist and Jens Hoffmann feature more works by 42 artists.
Imagine Yoko Ono. The internationally known artist, who has worked across a wide range of genres and media, celebrated her 83rd birthday about two weeks ago.
PARIS — Climats Artificiels at the Espace Fondation EDF is an impertinent and multigenerational group show of contemporary art — heavy on miniature biosphere mockups — that raises the question of the current value of ironic artificiality.
Two Chelsea galleries are simultaneously hosting the same audience-activated Yoko Ono pieces, with collaborative mending of shattered ceramic, sketching of an infinite line, and contemplating river rocks.
PARIS — Take Me (I’m Yours) at the Monnaie de Paris revives and expands a 1995 exhibition curated by Christian Boltanski and Hans-Ulrich Obrist at London’s Serpentine Gallery, in which all the art is designed to be touched and taken away.
When Beatle John Lennon, artist Yoko Ono’s third husband, was shot and killed in 1980, Ono went into deep mourning.
LOS ANGELES — It was still dark when I set off on the uncrowded freeway, the few other people on the road either partiers coming home late or workers on their way to the early shift.
Yoko Ono: One Woman Show, 1960-1971, an exhibition that opens tomorrow at the Museum of Modern Art, examines in depth the early work and ideas of a well-known, influential Fluxus and multimedia artist.
Zero Tolerance at MoMA PS1 tackles an ambitiously broad subject: the intersection between protest and art.
Today, Ono is no longer, as Lennon quipped in the late 1960s, “the world’s most famous unknown artist”; at the time, he added: “everybody knows her name, but nobody knows what she does.”