News Art Blog

John Lennon liked to joke that Yoko Ono was “the world’s most famous unknown artist.” Before she infamously “broke up the Beatles” (but not really), Ono built an internationally recognized career as an artist in the developing fields of Conceptual art, experimental film, and performance art. Unfairly famous then and now for all the wrong reasons, Ono’s long fought in her own humorously sly way for recognition, beginning with her self-staged 1971 “show” Museum of Modern (F)art, a performance piece in which she dreamed of a one-woman exhibition of her work at the Museum of Modern Art, New York. Now, more than 40 years later, the MoMA makes that dream come true with the exhibition Yoko Ono: One Woman Show, 1960–1971. Better late than never, this exhibition of the pre-Lennon and early-Lennon Ono establishes her not just as the world’s most famous unknown artist, but the most unfairly unknown one, too. Please come over to Picture This at Big Think to read more of "Better Late Than Never: Yoko Ono at the MoMA."

Seventy-five years ago, The Museum of Modern Art staged their first exhibition devoted to the work of a single photographer—Walker Evans: American Photographer. That show brought together many of Walker Evans’ photographs done for the Farm Security Administration (FSA) to record life during the Great Depression. With Walker Evans: American Photographs, which runs through January 26, 2014 at the MoMA, it’s déjà vu all over again as America finds itself mired in another economic crisis and Evans’ art holds up a mirror. As apolitical as Evans himself, Evans’ photos show an America of the past that looks and feels like the America of today, while also giving a message of hope for the future. Please come over to Picture This at Big Think to read more of "Why Walker Evans’ American Photographs Feel LikeDéjà Vu."




 

This week’s unveiling of Leo Villareal’s The Bay Lights (shown above), the world’s largest LED sculpture running along 1.8 miles of San Francisco’s Bay Bridge, shone a light on more than just the waters between San Fran and Oakland. A recent article in The Wall Street Journalprofiled several “Silicon Valley power players” patronizing Villareal’s $8 million USD light show as well as making other forays into the art world. Since the Medici during the Renaissance, high finance and fine art have always found some partnership that was mutually beneficial. Just as some argue that Medici money was a mixed blessing for art, will the same be said after tech moguls have put their stamp financially on contemporary art? Silicon Valley may save the art world, but what will that art world look like afterwards? Please come over to Picture This at Big Think to read more of "Will Tech Moguls Save the Art World?"

[Image: Leo Villareal. The Bay Lights, 2013.]