"PAINTING FOR THE SKIES to Toshi Ichiyanagi" ('62) by Yoko Ono for "INSTRUCTIVE AUTO-DESTRUCTION" by Anthony Cox in "Art and Artists", August, 1966

-- Page 18

 

" PAINTING FOR THE SKIES

to Toshi Ichiyanagi

Drill a hole in the sky.

Cut out a paper the same size

as the hole.

Paste hair over the entire surface

of the paper.

Burn the paper.

The sky should be pure blue.

 

1962 summer"

 

 

 

 

-- Page 17

 

 

"Ono leads in a direction that might be called Concept-Art

 

 

 

INSTRUCTIVE AUTO-DESTRUCTION

 

 

 

 

THE FULL MOON hangs over the Lower East Side, its light

shines on paper-littered streets. In the daytime 2nd Avenue

is jammed with traffic and it's possible to look up through

the dust and heat at the sky and imagine what those few

seconds would be like before it came if eternity were to fit.

What an EVENT!

What is an Event and what does it have to do with Art?

Circa 1950: Yoko Ono is sitting around some-place

striking matches. She is observing the significance of a

natural act. Many matches later she finds that by lighting

a match and watching til it has gone out she is making

something that has a shorter existence than herself, and

by comparison is making her life longer.

When people are asked to observe the passage of time

they may feel ill at ease. Is this why we have a term like

auto-destruction? One of Yoko Ono's first events is

called LIGHTING PIECE: 'Light a match and watch

till it goes out.'

1961: her first one-man show in New York, in which

fifteen works were what she calls INSTRUCTUER;

'Something that emerged from instruction and yet not

quite emerged - not quite structured - never quite struc-

tured --- like an unfinished church with a sky ceiling.'

One of these works which was described by a critic as 'a

grimy unstrung canvas with a hole in it' is SMOKE

PAINTING: 'Light canvas or any finished painting with

a cigarettes at any time for any length of time. See the smoke

movement. The painting ends when the whole canvas is

gone.'* For Ono, paintings like Event do end: an ad-

ditional act in life; something to solve the temptation of

insanity.

Other works in her 1961 show were, PAINTING TO

BE STEPPED ON: 'Leave a piece of canvas or finished

painting on the floor or in the street.'* A + B PAINTING;

'Cut out a circle on canvas. A. Place a numeral figure, a

roman letter, or a katakanao on canvas B at an arbitrary

point. Place canvas A on canvas B and hang them together.

The figure on canvas B may show, may show partially, or

may not show. You may use old paintings, photographs, etc.

instead of blank canvases.'* PAINTING FOR THE

WIND: 'Make a hole. Leave it in the wind.'* PAINT-

ING TO SEE THE SKIES: 'Drill two holes into a can-

vas. Hang it where you can see the sky. (Change the place

of hanging. Try both the front and the rear windows, to

see if the skies are different.')* PAINTING TO LET

THE EVENING LIGHT GO THROUGH: 'Hang a

bottle behind a canvas. Place the canvas where the west

light comes in. The painting will exist when the bottle

creates a shadow on the canvas, or it does not have to

exist. The bottle may contain liquor, water, grasshoppers,

ants or singing insects, or it does not have to contain.'*

BLOOD PIECE: 'Use your blood to paint. Keep painting

until you faint (A). Keep painting until you die (B).'*

These and the others in the show were designed to be

done by anybody although at the time it was not apparent

to most observers and as well the works had been made by

Ono, they were regarded as going in one direction only:

purely auto-destructive. Actually all her paintings exist

in two phases. (1) The instruction phase; which may be

compared to a musical composition; written, copywritten,

distributed, and generally at large for anybody to make

(perform) and show (2) the existence of the particular

piece, which generally has some aspect which is in a state

of flux. Sometimes this may be only one-way, sometimes

it may be oscillating, or the piece may just need to be

refuelled, so to speak.

The one aspect which is considered so important in

most painting, the graphic element, or visual design, is

almost never stated except in the vaguest way as in A + B

PAINTING, and like a Swiss Patent, it is never clear

exactly how the formula goes. This is left up to the indi-

vidual who is to construct the work and how he feels about

such things. For the maker of the work and the audience

this opens up all sorts of possibilities. One is able to

observe certain relationships between art and life that are

usually overlooked in purely graphic art. Instead of saying

how the hell did he do that one might say why the hell do

I have to do that. The owner and/or maker of the painting

must continually come to grips with certain problems that

force him to consider what the concept of art is all about.

 

 

Recently, while the works of hers constructed by various

painters and sculptors were being collected in a gallery

for a show this coming fall, a piece was accidentally sold.

The piece WORD MACHINE #1 SKY MACHINE,

which produces a card with the word 'sky' on it when 25c

is deposited was acquired by Mr. & Mrs. Robert Scull. In

order to complete the sale in the case of this particular

piece it was necessary for Mr. Scull to sign a contract in

which he only received the right to possess the machine

but had to agree that serving of the machine would

remain the right of the maker and the maker would

receive 60% of the proceeds of the sake of 'sky' cards.

The pure iconism of the work is at question. It is a

machine, it has to be cleaned, repaired, cards replaced,

money extracted, in short, handled like crazy and the owner

and the maker have become involved in a continual

bureaucratic even in order to meet the terms of the con-

tract. Her original composition for this work states that

these machines should eventually replace all Coca-cola

and chewing gum machines, etc. everywhere. Immediately

there is a threat on these manmoth industies which have

always been auto-destructive in nature anyway - this

piece is a kind of a parody of them - and pocesses certain

interesting problems as the underworld usually controls

the vending machine operations here in New York. Is

there something wrong with a society that vends art in

machines instead of phosphate? Many agree that the coke

bottole has long been of better use and more valuable than

its contents anyway, and certain artists have even emulated

it in what has come to be known as Pop art.

Ono's work involves many facets and many roots that

are deeply traditional in Eastern and Western thought. In

the East there are traditions that have been obscured by

the advent of the West and one might hope that the reverse

may take place in the West: interbreeding considered

healthful. In Japan it was common and still is to a lesser

degree, to wrap one's lunch in a beautiful package -

intricately embossed gold foil was ideal (there are still

many things we don't know about food) - to contemplate

while eating in the woods; of course the wrapping would

be thrown away ... or for many people to gather with

the express purpose of observing the moon, without any

particular motive scientific or otherwise. This approach is

referred to as 'wabi and sabi' and it is considered that no

clear translation should be available.

In the West Ono relates to that arear referred to by Gene

Swenson as 'The Other Tradiotion'; Duchamp, Ernst,

Cage, Rauschenberg, Johns, etc., and it is interesting that

these men were attracted to her and attended her concerts

and events held in 1959-61 at her loft on Chambers St.

in New York before her return to Tokyo (at one point she

was close to Cage and tourned Japan with him in 1962, but

her music which has been described as 'music of the mind'

is diametrically opposed to his in philosophy and has no

audible sound in the conventional sense.)

What about painting of the mind? One of Ono's works

in her series 'imaginary paintings', is PAINTING TO BE

CONSTRUCTED IN YOUR HEAD: 'Imagine a flower

made of hard material such as gold, silver, stainless

steel, tin, marble, copper, etc. Imagine that the

pedals suddenly become soft like cotton or like living flesh.

In three hours prick all the petals. Save one and press it in a

book. In the margin of the page where the petal is pressed

note the derivation of the petal and the name of the petal.

At least eight hours should be spent in the construction

of the painting.'*

 

ANTHONY COX

New York City, July 4, 1966

 

 

 

For this special number of Art and Artists Yoko Ono

contributed the following: AUTO-DESTRUCTIVE

EVENTS; 1 - Dissapearing of snow, 2 - Thinking, 3 -

Dreaming, 4 - Waiting/not waiting, 5 - A wind, 6 -

Travel, 7 - Make wishknots in your head. Forget the

wish.

* reproduced by permission from Grapefruit, published by

Weltinnenraums Press, Box 186, NYC 14 USA."

 

 

 

Art and Artists

Volume One, Number Five

August 1966

Edited by Mario Amaya

London: Hansom Books, 1966

 

 

 

Private Collection of Mikihiko Hori

 

 

 

Done