Poster artwork for 'Yoko Ono: Music Of The Mind' concert, Jeanetta Cochrane Theatre, London, 17 November 1966.
“A ‘mundane’ task becomes peculiar when you choose to perform it in front of Paul McCartney’s face as he tries to write ‘Let It Be.’ When you repeat this for 21 days, it becomes astonishing.”
I hesitated to include this article here because it has nothing to do with children as a demographic per se, but… Yoko Ono is probably the embodiment of ageless wonder. She’s an improv whiz or just naturally curious or both, and occupies space as if it’s hers just as much as Paul’s. Unabashedly unapologetic, the artist only dreams of inhabiting these realms; Yoko does, effortlessly leaving the reviewer of Amanda Hess wondering “Why is she there?”
“Why is she there? I pleaded with my television set. But as the hours passed, and Ono remained — painting at an easel, chewing a pastry, paging through a Lennon fan magazine — I found myself impressed by her stamina, then entranced by the provocation of her existence and ultimately dazzled by her performance. My attention kept drifting toward her corner of the frame. I was seeing intimate, long-lost footage of the world’s most famous band preparing for its final performance, and I couldn’t stop watching Yoko Ono sitting around, doing nothing.”
Read the full article by Amanda Hess on Yoko Ono right here.
