A humanist, Yoko Ono (shown above in the Cut Piece performance)
“She didn’t want to hold down and lay claim on human beings any more than she did her art and ideas.”
“Women, though — everything they think and do and are proves their worth or danger as mothers and wives. But not with Ono. “Mothers are not supposed to give guidance,” she said in a 1998 interview, believing instead that children should do their own thing.”
“Yoko Ono is the ultimate feminist. She isn’t fighting for women’s rights per se, but she expresses herself doggedly and with a single-minded purpose of art for art’s sake, truth for truth’s sake, and doesn’t seem to care what anyone thinks about her as a woman. Just as male artists do and we don’t think anything of it. She’s an artist, not a female artist. Her life — and those of the people around her — is a tool. She uses incredibly personal autobiographical details in her work, yet she doesn’t seem to feel any need for perfect factual order or to worry about anyone’s feelings. That quality is neither feminine nor masculine; it;s genius, which is always disturbing when peered at too closely but more so when it’s housed in the body of a woman, who should be maternal, who is supposed to be desirable, agreeable, likable.”
quotes from, Yoko Ono: A Reconsideration by Lisa Carver
This is one of my favorite pieces by Ono. The results from the audience differ from that of London and Japan and it just amazes me how they changed the performance so much. The performance lasted longer in Japan because, being a conservative culture, they would cut small bits at a time. Whereas in London people went straight into cutting huge chunks, shortening the piece.